Rene Laubies, it occurs to us, kept mysteriously silent on matters
of aesthetics, formal or informal, vis-à-vis his literal performance
(écriture). We don't recall much from private talks either. His concerns fixed always on matters ontic: method, procedure, spirit of the place, "his rhythm in the doing it." Or as he wrote in the preface of one of Robert
Creeley's early books, "because it's made of ourselves, our emotions,
our angers, our love for the sumptuous ... and our asceticisms."
He spoke more pointedly on things he detested, primarily the French, their gallery owners in particular.
And the things he liked? (It's a very short list): Turner; the natural simplicity of the Chinese painters of the Golden period who 'dipped their hardened hair or their beards in ink, and spat - all to reject habitual technique and become a simple medium of the vital breath; post-war artist Katué Kitasono; Italian collectors; India.
He spoke more pointedly on things he detested, primarily the French, their gallery owners in particular.
And the things he liked? (It's a very short list): Turner; the natural simplicity of the Chinese painters of the Golden period who 'dipped their hardened hair or their beards in ink, and spat - all to reject habitual technique and become a simple medium of the vital breath; post-war artist Katué Kitasono; Italian collectors; India.
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