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At the Uffizi, I experienced a moment that was touching, painful, and almost embarrassing. We stopped in front of the famous Botticelli painting, The Birth of Venus. I gazed wistfully at her incomparably lovely, yet, as Vasari described, oddly distorted form emerging from the waves in a seashell, her long red-golden tresses blown by Zephyrs. No woman ever had so elongated a neck or such sinuous limbs. Botticelli contorted, and some might say deformed, the human shape to give us a glimpse of the sublime.

GI
Gary Inbinder

Confessions of the Creature

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While visual art is a thing of timeless beauty, to me, music is so much more. It brings you back to some of the greatest moments in your life. It represents so much more than just noise, it tingles and fills you with feelings. Overwhelms you with emotions of joy or sadness; comfort or anger. Like when you first hear a song that makes the hairs on the back of your neck stand up, made you want to dance, or go out and kick someone's a**. Music is truly a thing of absolute beauty.

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In the event that everything goes wrong and I__ not here tomorrow, there__ not enough time to fuck around. Why make art? Because it beautifies the world. It__ above people. It__ idealistic. It__ something to strive for that is not the mundane. It gives people peace of mind. It__ something you reach for that you can barely tickle but not quite get a hold of. And this [outpouring] makes that idealistic beauty so bright that you__ have to be a bitter asshole to deny its existence.

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When an artist is asked to speak about form, you expect something different than when a critic talks about it. Because you think that somewhere between sentences and words, the secret will slip out. I am trying to give you that secret; it isn't a secret at all, but it is building solidly, not using secrets. I had been trying to extend into metaphysical extension; that film is changing, metamorphic; that is, infinite; the idea that the movement of life is totally important rather than a single life. My films were built on an incline, an increase in intensity. I hoped to make a form which was infinite, the changingness of things. I thought I would want to find a total form which conveyed that sense, particularly in reference to an Oriental subject. My impression was: one is walking down a corridor of a hotel. One hears a sound, opens a door and a man is playing; one listens for three minutes and closes the door. The music went on before you opened the door and it continues after you close the door. There was neither beginning nor end. Western music increases in intensity to a climax and then resolves itself. Oriental music is infinite; it goes on and on. The Chinese theater goes on for hours and hours with time for lunch moving scenery, etc.