That which interests me above all else is the calligraphy of a tree or the tiles of a roof, and I mean leaf by leaf, branch by branch, blade by blade of grass.
The picture should be fecund. It must bring a world to birth.
I start from something considered dead and arrive at a world. And when I put a title on it, it becomes even more alive.
My way is to seize an image the moment it has formed in my mind, to trap it as a bird and to pin it at once to canvas. Afterward I start to tame it, to master it. I bring it under control and I develop it.
Little by little, I've reached the stage of using only a small number of forms and colors. It's not the first time that painting has been done with a very narrow range of colors. The frescoes of the tenth century are painted like this. For me, they are magnificent things.
I work like a labourer on a farm or in a vineyard. Things come to me slowly. My vocabulary of forms, for instance, has not been the discovery of a day. It took shape in spite of myself... That is why I am always working on a hundred different things at the same time.
I want to assassinate painting.
I work like a gardener.
What I am looking for... is an immobile movement, something which would be the equivalent of what is called the eloquence of silence, or what St. John of the Cross, I think it was, described with the term 'mute music'.
For me, a picture should be like sparks. It must dazzle like the beauty of a woman or a poem. It must have radiance; it must be like those stones which Pyrenean shepherds use to light their pipes.
Throughout the time in which I am working on a canvas I can feel how I am beginning to love it, with that love which is born of slow comprehension.
A modeled form is less striking than one which is not. Modeling prevents shock and limits movement to the visual depth. Without modeling or chiaroscuro depth is limitless: movement can stretch to infinity.
I begin painting and as I paint the picture begins to assert itself, or suggest itself, under my brush. The form becomes a sign for a woman or a bird as I work... The first stage is free, unconscious... the second stage is carefully calculated.
Art class was like a religious ceremony to me. I would wash my hands carefully before touching paper or pencils. The instruments of work were sacred objects to me.
I throw down the gauntlet to chance. For example, I prepare the ground for a picture by cleaning my brush over the canvas. Spilling a little turpentine can also be helpful.
I begin my pictures under the effect of a shock which I feel and which makes me escape from reality... I need a point of departure, even if it's only a speck of dust or a flash of light.
As regards my means of expression, I try my hardest to achieve the maximum of clarity, power, and plastic aggressiveness; a physical sensation to begin with, followed up by an impact on the psyche.
What I will no longer accept is the mediocre life of a modest little gentleman.
My tendency towards bareness and simplification has been practiced in three fields: modeling, colors, and the figuration of the personages.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: