FAMOUS CREATIVE MINDS

Noguchi tells us, “Primarily, what we carry around with us is a memory of our childhood, back when each day held the magic of discovering the world.”

It seems to me that there are a lot of books on architecture, drawing technique, architectural analysis, etc. that only deal with architecture as a formula. They might deal with “how to” per Ching or Jenkins. (More like monkey see, monkey do.)  Or they might provide nifty diagrams of famous buildings. Or they might provide a wonderful history with beautiful photographs of famous buildings. But none of them deal with the creative mind. None of them discuss what a famous creative mind might actually have thought about. I don’t remember any discussions in school of what might have been the creative process of a famous creative act. This relates to the flashcard mentality that has been mentioned earlier.

Noguchi’s passage at the top of this page puts a primacy on his childhood memories. After having read this passage, I have begun to wonder about my recurring childhood memories. For example, I think I was awakened to the power of light when I was about 10 and watched powerful shadows on a garage wall in the setting sun. Or any of a number of other similar recurring memories.

I believe that some sort of window into the creative mind is important for us to share with each other. We should learn more about real creative acts.  That’s why I have started to include passages from Philip Glass, John Cage, Picasso, etc., into these pages.

Certainly a central goal of Transparent Drawing is to offer tools, concepts and history with which we can all enrich our own creative individuality. And opening the door even a tiny bit into creative minds might aid in our quest.