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True Colour Acrylics

True Colour Acrylics

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05/21/2026
05/15/2026
In the 1997 documentary “Inspirations,” David Bowie reflected on the deeper reason people become artists. For him, making art was an attempt to understand oneself, and to locate that self within the larger fabric of society. That process, he suggested, only works when artists resist the gravitational pull of expectation. The moment creation becomes about satisfying an audience, the work loses its exploratory edge. He also believed the best art happens when the artist pushes beyond what feels comfortable and enters territory where the outcome is uncertain. In many ways, this idea mirrors how many artists and thinkers describe psychedelics as creative tools. Interestingly, unlike many of his contemporaries, psychedelics weren’t vital to Bowie’s creative process. He explored them briefly, but found his inner world vivid enough without anything Speaking to Pl***oy in 1976, he explained: “I did [it] three times. It was very colorful, but I thought my own imagination was already richer. Naturally. And more meaningful to me. Acid only gives people a link with their own imagery. I already had it. It was nothing new to me. It just sort of made a lot of fancy colors. Flashy lights and things. ‘Oh, look. I see God in the window.’ So what? I never needed acid to make music.” But his perspective also hints at something deeper about creativity and psychedelics alike. The substance itself isn’t the source of insight. At most, it opens a door. What matters is the mind that walks through it, and the willingness to venture somewhere unfamiliar once you do. Source: Michael Apted’s “Inspirations” (1997), #pl***oy #davidbowie 05/15/2026

In the 1997 documentary “Inspirations,” David Bowie reflected on the deeper reason people become artists. For him, making art was an attempt to understand oneself, and to locate that self within the larger fabric of society. That process, he suggested, only works when artists resist the gravitational pull of expectation. The moment creation becomes about satisfying an audience, the work loses its exploratory edge. He also believed the best art happens when the artist pushes beyond what feels comfortable and enters territory where the outcome is uncertain. In many ways, this idea mirrors how many artists and thinkers describe psychedelics as creative tools. Interestingly, unlike many of his contemporaries, psychedelics weren’t vital to Bowie’s creative process. He explored them briefly, but found his inner world vivid enough without anything Speaking to Pl***oy in 1976, he explained: “I did [it] three times. It was very colorful, but I thought my own imagination was already richer. Naturally. And more meaningful to me. Acid only gives people a link with their own imagery. I already had it. It was nothing new to me. It just sort of made a lot of fancy colors. Flashy lights and things. ‘Oh, look. I see God in the window.’ So what? I never needed acid to make music.” But his perspective also hints at something deeper about creativity and psychedelics alike. The substance itself isn’t the source of insight. At most, it opens a door. What matters is the mind that walks through it, and the willingness to venture somewhere unfamiliar once you do. Source: Michael Apted’s “Inspirations” (1997), #pl***oy #davidbowie

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Tulsa, OK
74135