Spray Painter Quotes

The key to faking deaths is a fine appreciation of arterial spray patterns. I have found that blood bags work very well at simulating spray with a strategically poked hole; apply pressure to the bottom of the bag, practice a bit, and before long you will be able to write stories of carnage and odes to gore. A small fan brush-the sort that one dude used to paint happy little trees-can paint a picture of blunt force spatters if you flick the surface properly. You could even talk to yourself, as that painter did, while you flick blood around: "And maybe over here we have a nice stab wound. And, I don't know, maybe there's a few more back over here. Multiple stab wounds. It doesn't matter, whatever you feel like.

She’s a lovely young woman from upstate New York, but you should be very thankful for those romance-novel-reading, tween-movie-watching women. They’ve had a big hand in making our town a success.” “And Julian’s love life, once he learned to spray himself with glitter.

Get a large tarp, at least 16 × 16-feet, and open it near your garden where you have all your boxes built and located. Make sure you have them in their final resting place—check with the boss one more time and ask, “Are you sure this is where you want all the boxes, dear?” All of the three ingredients are dusty when dry, so do this when there is no wind. Don’t do it in the garage, or you’ll get dust all over your nice new car or workshop. Wear a painter’s mask and have a hose ready with a very fine spray. Don’t forget to have a few mixing tools ready like a snow shovel, a hoe, or a steel rake. Count out the bags and boxes, do the math one more time and start opening the bags and pouring the contents out on the tarp without walking on the ingredients. Roughly mix the three ingredients as best you can as you pour it. Then drag two corners of the tarp to the opposite two corners. You’ll see the material roll over, mixing itself. When you’ve pulled the tarp so that the mixture is almost to the edge, move 90 degrees and pull those two corners over. You just work your way around the tarp and repeat pulling corners together until your Mel’s Mix is uniformly mixed. It’s finished when you don’t see any single material or one color. Use the hose with a fine mist or spray to wet down any dust, but don’t spray so much you make puddles or wet the ingredients so the mixture becomes too heavy to move easily. Don’t let the kids play in the mixture, or they will crush the large particles of vermiculite. (By the way, I’d save a small plastic bag of vermiculite for seed starting. We’ll get to seed starting in the next chapter.) The next step is to fill the boxes, wetting down the mixed-in layers only as you fill it. Once the box is full and the top leveled off, don’t pack it down. It will settle just right by itself.

Did you know, I used to listen to you sing in the shower? When you’d get under the spray and start belting out 90’s pop hits, I’d slide down the wall outside the bathroom door and just sit on the floor and listen to you sing.

After the war, when I told Terry Kitchen something about my three hours of ideal lovemaking with Marilee, and how contentedly adrift in the cosmos they made me feel, he said this: “You were experiencing a non-epiphany.” “A what?” I said. “A concept of my own invention,” he said. This was back when he was still a talker instead of a painter, long before I bought him the spray rig. As far as that goes, I was nothing but a talker and a painters’ groupie. I was still going to become a businessman. “The trouble with God isn’t that He so seldom makes Himself known to us,” he went on. “The trouble with God is exactly the opposite: He’s holding you and me and everybody else by the scruff of the neck practically constantly.” He said he had just come from an afternoon at the Metropolitan Museum of Art, where so many of the paintings were about God’s giving instructions, to Adam and Eve and the Virgin Mary, and various saints in agony and so on. “These moments are very rare, if you can believe the painters—but who was ever nitwit enough to believe a painter?” he said, and he ordered another double Scotch, I’m sure, for which I would pay. “Such moments are often called ‘epiphanies’ and I’m here to tell you they are as common as houseflies,” he said. “I see,” I said. I think Pollock was there listening to all this, although he and Kitchen and I were not yet known as the “Three Musketeers.” He was a real painter, so he hardly talked at all. After Terry Kitchen became a real painter, he, too, hardly talked at all. “ ‘Contentedly adrift in the cosmos,’ were you?” Kitchen said to me. “That is a perfect description of a non-epiphany, that rarest of moments, when God Almighty lets go of the scruff of your neck and lets you be human for a little while. How long did the feeling last?” “Oh—maybe half an hour,” I said. And he leaned back in his chair and he said with deep satisfaction: “And there you are.” •

Consider earth, our home. Let your eyes savor the brilliant hues and delicate shadings of a summer sunset. Tunnel your toes into wet sand, stand still, and feel the dependable foam and spray of an ocean tide. Visit a butterfly garden and study the abstract designs: 10,000 variations, more imaginative than those of any abstract painter, all compressed into tiny swatches of flying fabric. Belief in a loving Creator is easy among these good things.