I built up something by having disturbed something: destruction becomes construction. Action interrupts contemplation, as the means of accepting something among many given alternatives, for accepting nothing becomes chaos. A system became necessary: how else could I in a concentrated way find something of interest which lends itself to continuation? My systems are numerical concepts, which work in terms of progressions and/or reductions akin to musical themes with variations. In my work I try to expand and contract as far as possible between limits known and unknown. Generally, I couldn’t talk about limits I know. I only can say at times I feel closer to them, particularly while doing or after having done some conceptual series…. The most simple means for setting down my ideas and conceptions, numbers and words, are paper and pencil. I like the least pretentious and most humble means, for my ideas depend on themselves and not upon material; it is the very nature of ideas to be non-materialistic. Many variations exist in my work. There is consistent flexibility and changeability, evidencing the relentless flux of events.
Hamburg, 1968, as quoted in “Artists on Their Art,” Art International 12, no.4 (20 April 1968): 55.
photo credit: D. Lasagni
It is a give-and-take between an idea, what one might call “text”, and what is recorded using the medium as “subtext”. I have to ask myself what I expect from painting: should it be subservient to my ideas or a queen that I have to serve? The text, which I regard as a private matter, must be able to stand being dragged diagonally across the canvas. If it loses something along the way, so much the better, since it then gains something that it may have urgently needed: sensuality and a truth that is rooted in non-verbal space.
“I try to avoid the pitfalls of reality while maintaining a link with it. Photos are not inventions but encounters. I’m not looking for any aesthetic. That everything is haunted will not be completely intentional. But for me, photography is inseparable from the loss. Hence the need to cling to the impossible. Pictures are the only evidence of what has been experienced. But no facts at all. Whether something took place, whether one has had an experience does not mean one has actually known what it is and what it means for himself. This is often the limit of Photography – it does not penetrate. I want to express how I felt. This is the link with reality and experiences. While this is not the case because I guess I’ve not gone far enough in what I have experienced. As for cowardice. Some photos come out of nowhere, I don’t remember having taken them, they are linked to the reality of what I felt. ”