“I keep drawing the trees, the rocks, the river, I’m still learning how to see them.”

I love trying to render not just the object, but what it has been through.

Myths show us what we have in common with every other human being.

This is one of the magical things about drawing – it gives us almost visionary moments of connectedness.

The power of both myth and art is this magical ability to open doors, to make connections – not only between us and the natural world, but between us and the rest of humanity.

When I draw something, I try to build some kind of history into it.

And at the same time, mythic stories and art celebrate our essential differences.

I’m drawn to characters who bear similarities to the protagonists in myths and legends.

I spend as much time as I can sketching from nature,

I ‘m still discovering how to render their forms. I will spend a lifetime doing that. Maybe someday I’ll get it right.

Drawing an object that has a certain amount of wear and tear or rust; or a tree that is damaged.

To draw a tree, to pay such close attention to every aspect of a tree, is an act of reverence not only toward the tree, and toward the earth itself, but also our human connection to it.

Dartmoor contains such a rich variety of landscape, as many boulders, foaming rivers and twisted trees as my heart could ever desire.

When I look into a river, I feel I could spend a whole lifetime just painting that river.

No matter what culture we come from, no matter what century we live in. . .

the great mountains, and the sea. He means that he loves an inner air, an inner light in which freedom lives and in which a man can draw the breath of self-respect.

He hates everything that wants to draw him out of his acquired and secured position and that disturbs him.

The work of art wants to draw people out of their state of comfort.

Instead of boiling up individuals into the species, I would draw a chalk circle round every individuality, and preach to it to keep within that, and preserve and cultivate its identity.

Fate leads the willing, and th’ unwilling draws.

Would mistrust a poetry critic who couldn’t produce a rhyming couplet. Could one write about art without knowing how to draw?

Beauty or beast, the modern skyscraper is a major force with a strong magnetic field. It draws into its physical being all of the factors that propel and characterize modern civilization.

Every creative act draws on the past whether it pretends to or not. It draws on what it knows. There’s no such thing, really, as a creative act in a vacuum.