"I am not afeard, my Heart's-delight," resumed the Captain. "There's been most uncommon bad weather in them latitudes, there's no denyin', and they have drove and drove and been beat off, may be t'other side the world. But the ship's a good ship, and the lad's a good lad; and it ain't easy, thank the Lord," the Captain made a little bow, "to break up hearts of oak, whether they're in brigs or buzzums."
I came to admire this machine which could lift virtually any load strapped to its back and carry it anywhere in any weather, safely and dependably. The C-47 groaned, it protested, it rattled, it leaked oil, it ran hot, it ran cold, it ran rough, it staggered along on hot days and scared you half to death, its wings flexed and twisted in a horrifying manner, it sank back to earth with a great sigh of relief - but it flew and it flew and it flew.
Please drop a note to the clerk of the weather, and have a good, rousing snow-storm -- say on the twenty-second. None of your meek, gentle, nonsensical, shilly-shallying snow-storms; not the sort where the flakes float lazily down from the sky as if they didn't care whether they ever got here or not, and then melt away as soon as they touch the earth, but a regular business-like whizzing, whirring, blurring, cutting snow-storm, warranted to freeze and stay on!
Here we find the moat of thieves. And just as a lizard, with a quick, slick slither, Flicks across the highway from hedge to hedge, Fleeter than a flash, in the battering dog-day weather, A fiery little monster, livid, in a rage, Black as any peppercorn, came and made a dart At the guts of the others, and leaping to engage One of the pair, it pierced him at the part Through which we first draw food; then loosed its grip And fell before him, outstretched and apart.
Polar fleece is a plush, spongy, totally artificial material that weighs nothing and conveys no quality of warmth or coolness; in fact, you can wear it in the most bitter weather or in the hottest heat. Polar fleece looks neither flimsy and light nor hearty and warm. It has no historical, cultural, or physical association with a place, a season, a society, or any living thing. It is the first existential fabric - eminentaly useful, meaningless, dissociated and weird.
Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.