WEBVTT

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[music]

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Though I was born precisely on
the border of Holland Belgium,

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and it was another fateful spot

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because both the First and the
Second World War started there.

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And so when I was five years old, I heard
the booming of the big breath of guns

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a few miles away uh… looking out of a

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Attic window I saw next, we say burning,

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and I remember (inaudible) coming over.
In the mean time,

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endless possessions of miserable refugees

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with their children divided,

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thank God’s of all the
people in our sanctuary

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have had to flee their homes with children
on their backs, and a few belongings

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and… and… and… a baby cares. And I remember that…
I don’t remember the words in which I thought

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that’s where these are all human beings

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about two hours, (inaudible) on
push carts, and bloody bandages.

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These are all human beings.
And so actually, my…

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you could call it obsession with the basic
question of what does it mean to be human,

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was practically born with me.

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[music]

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The Chinese sage Hugh Miang said,
\"The meaning of life is to see,

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not look at ourselves,
and the world around us,

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but to see it, to see it.\"

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Now that became my life’s motto,

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for I became ever more aware of the calamity of
having allowed our God given capacity to see,

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deteriorate into our addiction

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to merely looking at things like beings
with all the sufferings, and all the power,

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the stupid looking at entails.

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Any cow and any tiger
can look at the world.

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Only we humans have that gift of seeing.

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And if we could still see,
how could we possibly stand

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to what we look at unflinchingly alone
if it’s cleaned. If we could still see

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the nightmares of (inaudible)
or Mozambique or

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whatever the outrage of today.

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If we could still see those
neat robes of corpses,

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those collapsed buildings, those famished
mothers with their children at their breasts,

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if we could still see, would
we not kneel down, or weep,

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or pray, or cross ourselves

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in an attempt to exercise
the depth of evil falling.

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[music]

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Drawing for me is the infallible
antidote against mere looking at.

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For drawing is such an immense
intensification of perception

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that the seeing, and the drawing confuse

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into one single undivided act.

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And that’s an action of
total identification with

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what, or whom you’re drawn.

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Drawing or the painting
is my way of meditation.

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What does meditation means? It means
you get in touch with what matters,

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and piano too.

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[music]

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If you play something like that,
even if the… that the windows close

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because I know a good pianist said some
what I mean, but then you are in touch

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as you are in touch when you’re
drawing a… a swarm of birds

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with the sanity,

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the saint core of the, of the
world than of human being.

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And so everyday it has to
have a little while of that

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and some people may get that in
prayer, but to me all this is prayer,

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and not putting out ultimations to God of singing
and praises. This is something else. This is uh…

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being in touch with that which
matters of whatever you call it.

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[music]

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All this would be quite unthinkable

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if Claske (inaudible) just my wife.

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Officially, I’d say Claske is my wife,

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but unofficially, I think we… I have grown
into some kind of a single organism

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which does not have to discuss,

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shall we go and sacrifice our backyards?
It just happens to come that way.

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But she’s also much more,

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my name is mentioned as the author of these
books which is a bare faced lie, of course,

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because without Claske, there
wouldn’t be any books.

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If you see these manuscripts,

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they’re so… uh… complete changes
five, six, seven, eight times.

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First, I write it by hand then I write
it by hand again, then I get it,

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then I can only read it, he can’t read it anymore.
Then I typed it out of first time, and I think,

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oh, it looks pretty good because I
edited while typing, of course.

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And then it comes back
this way… And I try again,

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and I think, no, it’s really… it has to go
tomorrow, and then it keeps gonna forever.

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So that’s uh… very great
part of what I do, you know.

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And that, of course, the editor’s
correspondence verbatim.

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[music]

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And then, well, so many other things
that have to be done regarding

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the birds, my rabbit.

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It grows all the time. It changes
all the time. We are never bored

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because he has always seen (inaudible)
constantly, but to live it constantly.

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[music]

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This place, peace on earth that
I’ve built in Warwick, New York

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as a kind of oasis of sanity,

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you know, very crazy world.

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As a saying of reverence for life,
that’s lives are stood for.

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This hand of the human, and
in short, the sign of hope.

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I didn’t look for a place to start this

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trans-religious oasis. It came to me.

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And I saw it as a kind of canvas.
I saw it as a possibility to

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create something.

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I hoped of work of art, but outside of
the art game, and at the same time as a

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spiritual or religious
if you wish statements

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outside of religious games.

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Today, however three contemporaries,
and with whom I had the good fortunes

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to begin some kind of contact. And they’re really
the ones to whom I dedicated the Pacemin Terris.

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Angelo Roncalli, Pope John XXIII

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who by profession was a catholic,

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but however holds more than a Pope, he was a
prophet of human solidarity and a free spirit.

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Now for winters that I drew in Rome,

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drawed a council where for me

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really a revelation of uh…
the greatness of John XXIII

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as a human being…

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Human beings are so much layered
than popes, aren’t they?

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The second great man was Albert Schweitzer and whose
staff Claske and I worked for three years in Africa.

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I had a patient in New York

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who uh… to whom my attention to that
writer very much in need of all surgery

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emergency clinic. And I said, Ah…

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I’m available, and I left my practice.

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I was terribly interested to see this
phenomenon, there’s eighth uh… world wonder

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from close by, and got to know him.
And I knew him

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from very close by because I… I sat
opposite to him at table mostly.

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I got to know him as an
extraordinarily human person,

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not at all the saccharine saint that
he was often made… made out to be,

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but somebody who could be
absolutely mad at people,

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and had a very good sense of humor. When
he was 86, at six o’clock in the morning,

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he was studying (inaudible).
I only started 9 o’clock.

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And he played a much better.

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Last but not least, (inaudible)

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who brought the great wisdom of Zen to the west,
and who could answer the quest of what Zen is,

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say, it is the great wisdom,
it is the great compassion,

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it is the great compassion
which is the great wisdom.

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And so this Buddhist sage,

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this catholic pope, and this
protestant doctor, and thinker

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were for me the paradigms of what
it means to be human in our time.

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[music]

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Actually, I don’t call these things
sculptures, I call them shrines,

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or tokens, or icons.

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I just try to say something

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with these rather symbol means.

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[sil.]

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Some people have said here, \"Is that the hand
of God?\" I said, sure, it’s the hand of God.

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Or says, somebody says, \"Is there’s
stigma in that hand, in the second hand?\"

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Well, I say, yes, indeed, it is.

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Later ask me, what did I think of two?
I thought, ah,

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that maybe an eye in the hand,

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the hand that ceases, the hand that draws.
So I mean these are all free associations.

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[sil.]

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The Chief Owen (inaudible)
who was an important figure

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in the Native American Movement.
His quotation from the great law

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of the six nation Iroquois
confederation says,

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\"In all our deliberations
we have to be mindful,

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of the impact of our decisions

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on the seven generations to follow ours.\"

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I love to juxtapose those
negative spaces of emptiness with

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whatever came out of them.

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[sil.]

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Now this I call Hiroshima.

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I also call it the unkillable human.

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It came about after, in Hiroshima,
I saw burned into a concrete wall,

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the shadow of a fellow human
who had been evaporated there

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on August 5th, 1945, the
movement the bomb struck.

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[sil.]

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Peace on Earth,

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it is actually the scene that Pacimen
Terris at our places really devoted to.

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And we just we’d like it to make

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kind of peaceful noise you see.

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[sil.]

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This cosmic fish

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with all these faces in it, this is an old dream of mine from
childhood, really, and which every scale of the fish is a human face.

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[sil.]

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The whole thing together is humanity

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swimming through the interstellar spaces.

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[sil.]

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To me the fish is an extremely
significant symbol.

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[music]

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They all have a stepping stones,
and they all have a meaning too.

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[music]

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Now this is uh… one of the
oldest, oldest sculpture.

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It’s (inaudible) a gong.

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And I made it for the play called
the \"Death and Life of Everyone,\"

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which is my contemporary evaluation

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uh… of the medieval play of everyman.

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And I wanted to symbolize this everyman
who has his black African aspect…

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[sil.]

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… and that’s Caucasian aspect.
So there are two…

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the two aspects of the
same human, everyman.

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[sil.]

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It’s name is (inaudible).

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(inaudible) is the oldest known symbol

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of eternal life.

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It’s a snake that bites its own
tail, and becomes circular.

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[sil.]

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Social mask.

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[sil.]

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I open it up and you get through self.

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Through self has been called the indwelling
spirit, has been called the Buddha nature.

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I call this specifically human,
you know, but in modern term.

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Let’s put this social mask
on again and be safe.

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[music]

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Nicholas of Cusa who is a
Christian mystic from the

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15th century adventures

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in all faces can be seen the face of faces.

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He failed as an other door,
should (inaudible) this face.

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[music]

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This is actually the same theme…

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… whereas this mirror

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in which you can see darkly that same
through self, that face of faces

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and your own features,

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the same as the original face.
So just like to go close by.

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[music]

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I call this acronym Madonna.

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The mantle of this acronym Madonna,

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I also call her, the mantle of the Earth is a
hallow tree trunk that I’ve found around here.

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And then there are all those
beings, there’s these

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innumerable beings embraced in that mantle.

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And as I see, I also call it,
the mother of the earth.

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[music]

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I could call this the eye of God,

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could call it, the Buddha eye. I would
always love is when you look into it…

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[sil.]

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You see yourself as you are. That means

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very brief, very brief.
It is a very brief life.

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You can grasp it.

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You just wait and see.

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Look gone. That’s the proof.

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[sil.]

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The tree of life,

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but at the same time, it
makes me think of uh…

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a word of Dionysus. And there’s
a goddess of fountain,

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eternally flowing into itself.

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And so it’s a life fountain.

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It’s a recycle of life fountain.

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[sil.]

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I see the fishes. They swim on and on,

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never reaching the end of the water.

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I see the birds flying in the sky,

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flying on and on, never
reaching the end of the sky.

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A painting like the recycle of birds,

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I notice now, I… I don’t know if anyone don’t gonna
somethings when I painted it, but it is that feeling.

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[music]

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These paintings are not constructed.

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These paintings come out of drawings that I have
done at one point, and they keep on haunting me

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until it has been projected on a canvas.

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[music]

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Like the tiny couple, in an
immense space to that solitudes,

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nor they often scratch me that way.

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Again each one of that crowd
of people is an absolute,

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umm… are so relative (inaudible)
but also an absolute.

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And here, this entire mass of people,

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or line of people jump standing on their
heads and some tumbling over on their hands,

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some in love and then… and… and…
leaning against each other.

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I’d say loving. Yeah, that’s it’s life, and
that’s life as I can’t help seeing it.

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And it’s not so different from
those birds in those swarm.

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So they’ve start of mystery
of uh… of the run,

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the many, and the total.

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So I wouldn’t say that these
paintings are philosophical,

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or trying to put over some
kind of philosophical concept.

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There’s no concept whatsoever. And that’s the difference
with much of the modern art at this conceptual.

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You better call conceptual or
not, this is actually the vision.

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It is a way of seeing. For me, the question

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of seeing, and looking at,

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is a crucial, absolutely crucial question.
When I look at a face,

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and sketch a face, I’m
that sketching caricature.

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As I see… I choose… uh… salient points.

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He has a bald head. He has a little
bit of wool around his chin,

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and he has two… two little glasses on.
That person I caricature.

00:23:45.000 --> 00:23:49.999
If I… I’m… If I’m going to draw that face,

00:23:50.000 --> 00:23:54.999
I have to see it.

00:23:55.000 --> 00:23:59.999
It’s all there in those few trees.
It’s all there in a bowl of cherries.

00:24:00.000 --> 00:24:04.999
And the other day, I painted three
little apples, rotten apples

00:24:05.000 --> 00:24:09.999
with a lot of insects around them.

00:24:10.000 --> 00:24:14.999
If I look at that, I would say that three
rotten apples with a lot of flies around it.

00:24:15.000 --> 00:24:19.999
If I start to draw this, I’m
faced with life, death,

00:24:20.000 --> 00:24:24.999
and all kinds of evaluations on the theme.

00:24:25.000 --> 00:24:33.000
[music]

00:24:35.000 --> 00:24:39.999
Now my books actually\"

00:24:40.000 --> 00:24:44.999
The Zen of seeing\" was
based on this question.

00:24:45.000 --> 00:24:49.999
But it was not as clear yet because
it’s done years ago almost.

00:24:50.000 --> 00:24:54.999
This question of seeing
versus just looking at…

00:24:55.000 --> 00:24:59.999
two books are coming out, but the main book

00:25:00.000 --> 00:25:04.999
is \"Zen Seeing, Zen Drawing,
Meditation in Action.\"

00:25:05.000 --> 00:25:09.999
I call it (inaudible) Zen of Seeing.

00:25:10.000 --> 00:25:14.999
I’m often asked,

00:25:15.000 --> 00:25:19.999
oh, uh… (inaudible) drawings,

00:25:20.000 --> 00:25:24.999
all of a suddenly, (inaudible)
steel, and you bang it into shape.

00:25:25.000 --> 00:25:29.999
Why? How? And actually, I don’t know,

00:25:30.000 --> 00:25:34.999
I do that for me the drawing,

00:25:35.000 --> 00:25:39.999
I’m in total contact with life as it is.

00:25:40.000 --> 00:25:44.999
[music]

00:25:45.000 --> 00:25:49.999
I’m not at all a conceptual artist.
I don’t think things out.

00:25:50.000 --> 00:25:54.999
They have to come to me, or they don’t. And
sometimes, they come in words then I write.

00:25:55.000 --> 00:25:59.999
And sometimes, they come
in the urge to draw

00:26:00.000 --> 00:26:04.999
which is always there. And sometimes,
I have to play it on the piano.

00:26:05.000 --> 00:26:09.999
And sometimes, I make it into a piece
of steel So umm..so..actually could say

00:26:10.000 --> 00:26:14.999
there is a kind of dilettantism.

00:26:15.000 --> 00:26:19.999
Yes, why not? Why not? Who uh… my (inaudible)
said that I’m a professional artist.

00:26:20.000 --> 00:26:24.999
There are good artists, and
there are lousy artists.

00:26:25.000 --> 00:26:29.999
[sil.]

00:26:30.000 --> 00:26:34.999
[music]

00:26:35.000 --> 00:26:39.999
The function of art is to transmit

00:26:40.000 --> 00:26:44.999
that preciousness of life I would say

00:26:45.000 --> 00:26:49.999
which is in itself, well, I
would call as spirituality.

00:26:50.000 --> 00:26:54.999
And if one doesn’t dogmatize that then

00:26:55.000 --> 00:26:59.999
you can bring people as if
we’re together by these means.

00:27:00.000 --> 00:27:04.999
And so I’ve been experimenting with
these means, and it has worked.

00:27:05.000 --> 00:27:13.000
[music]

00:28:45.000 --> 00:28:50.000
[sil.]