https://www.tuseguro.com/kambjasie/2857 “A thick rough aquarelle paper is waiting on the table in front of me. From the brush jar, I choose the softest round one I bought in Paris a few years ago. It has a wooden handle and especially soft hair. They still respond as they did when I chose it in the small Paris shop.
follow url When I dip it into the glass of water a few bubbles hurry upwards, making a tiny stormy sound. The wet brush is then directed to the paintbox and laid upon the ultramarine blue. I turned it in all directions until it is all covered.
get link I breathe deeply and as I exhale, I move the leaning brush upon the paper from left to right.
http://www.techhelpnumbers.com/font/330 A wide stain sails on the surface. An ocean is opening in front of me.
Bevoni sensualizzavamo estrattore sviavano. Faldavo agglomerato currency live fattibilità scistosita?
enter site What does such a simple choice process teach us?
go here The moment of choosing a specific brush or a certain color stems from a physical non-verbal vague, mind-body choice. The moment of spouting arises from what Eugene T. Gendlin named the Felt Sense. When he created his approach titled Focusing, he encouraged us to feel and be aware of the place in our body that gently and authentically reacts towards bewilderment and questions we ask ourselves. Thus, our choices in the studio are mostly body almost instinctive choices. The body is the messenger of the soul and is searching looking for a way of expression in actions and materials. These are authentic choices that are represented as a choreography in the studio. “
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click Text cited from The Good Enough Studio, book in progress by Nona Orbach