^Building, Matteo Thun, 1983
We can’t help who we are attracted to, we have no control over which person draws our eye in the tube carriage, just as we are not always in control of our thoughts, they wander off without us to whatever takes their fancy, day dreaming precisely at the moments when we should probably be concentrating, working on something. It can be irritating being turned back into a lusty teenager through no desire of your own, or drifting off unprompted into puerile, fanciful worlds of escape in your head, but on the other hand it is those moments when something truly singular sparkles into life.
It is in those moments that our rational minds briefly lose control of our waking instincts, momentarily relinquishing authorship over our thoughts, letting our bodies and our intuition guide us. It is right then, if we pick up a pen or a pencil, and use all the skills at our disposal to take our flight of fancy seriously and frame it, capturing it, that we can extract from the ebb and flow of our daily lives — always so concerned with satisfying the judgments of others — a pure cross section of ourselves, a distilled fragment of subjective creation.
The sketch and the Capriccio, the former capturing the fleeting structure of an idea as it passes by, the latter being the flesh added to its bones, the full flight of fancy, the private and passionate love affair between the artist/architect and his imagination, drawn out and expanded into vignettes of autoerotic intensity, which if pursued with enough zeal begin to stand on their own as inspirational artifacts, intriguing specimens from the intimate obsessions of our fertile minds. It is in the caprice of our fancy — the beautiful face we cannot stop staring at, the ideal place we keep trying to imagine — drawn out and expanded, that we will find the coming together in one space, in one scene, compressed, of the very subjective ground of our anterior architectural instinct.
NB, this post was initially published in The BiBlog