Abstract painting is abstract. It confronts you.
Painting is self-discovery. Every good artist paints what he is.
I have no fear of making changes, destroying the image, etc., because the painting has a life of its own.
The modern artist... is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces.
The strangeness will wear off and I think we will discover the deeper meanings in modern art.
On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.
If people would just look at the paintings, I don't think they would have any trouble enjoying them. It's like looking at a bed of flowers, you don't tear your hair out over what it means.
Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't mean it as a compliment, but it was.
It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
Painting is no problem. The problem is what to do when you're not painting.
The modern artist is working with space and time, and expressing his feelings rather than illustrating.
The painting has a life of its own
When I am in my painting, I'm not aware of what I'm doing.
When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.
I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting.
The process is only a means to an end-creating the painting I want. It doesn't mean anything itself. It's only a way of creating a result.
My painting does not come from the easel.
With experience it seems to be possible to control the flow of paint, to a great extent, and I don't use - I don't use the accident - 'cause I deny the accident... it's quite different from working, say, from a still life where you set up objects and work directly from them. I do have a general notion of what I'm about and what the results will be. I approach painting in the same sense as one approaches drawing, that is, it's direct.
Bums are the well-to-do of this day. They didn't have as far to fall.
I'm very representational some of the time, and a little all of the time. But when you're painting out of your unconscious, figures are bound to emerge.
I hardly ever stretch the canvas before painting.
I don't work from drawings and colour sketches into a final painting. Painting, I think, today - the more immediate, the more direct - the greater the possibilities of making a direct - of making a statement.
Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting.
I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc.
When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
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