Monday, June 11, 2012



“As far as the surface is concerned – oil on canvas, conventionally applied – my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.”












“Now there are no priests or philosophers left, artists are the most important people in the world.”

“Of course, my landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful' (even if I did not always find a way of showing it); and by 'untruthful' I mean the glorifying way we look at nature – nature, which in all its forms is always against us, because it knows no meaning, no pity, no sympathy, because it knows nothing and is absolutely mindless: the total antithesis of ourselves, absolutely inhuman.”




“Picturing things, taking a view, is what makes us human; art is making sense and giving shape to that sense. It is like the religious search for God.”




Why do most of your paintings look like blurry photographs?
”I've never found anything to be lacking in a blurry canvas. Quite the contrary: you can see many more things in it than in a sharply focused image. A landscape painted with exactness forces you to see a determined number of clearly differentiated trees, while in a blurry canvas you can perceive as many trees as you want. The painting is more open.”



Don’t be blurred; wash your eyes at the CENTRE POMPIDOU till September 24th, 2012. Portraits, landscapes, abstract works. 150 works from the Sixties to today.

No comments: