Antoni Tapies Quotes
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In our world, in which religious images are losing their meaning, in which our customs are getting more and more secular, we are losing our sense of the eternal. I think it's a loss that has done a great deal of damage to modern art. Painting is a return to origins.
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The dramatic sufferings of adults and all the cruel fantasies of those of my own age, who seemed abandoned to their own impulses in the midst of so many catastrophes, appeared to inscribe themselves on the walls around me.
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In the potential of absurdity, hiding in the disparate combination of the various different subjects which in themselves are nothing but daily items equally in the exclusive representation of a normal item taken out of their usual context , is by far the most radical - in its effect comparable to a Japanese Zen koan - paradox to be witnessed, which modern art has produced, one of the most forceful impulses that generated from it.
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I would say off the cuff that I am an anxious person. I worry about everything. I need to know everything. I tend to live in a state of anxiety with the feeling that life is some kind of great catastrophe.
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At lucky moments this emanation could overwhelm the spectator in such a way, that because of all sorts of associations in his thinking, he could finally be taken to those areas which also had moved me so deeply and made me think I should draw the attention of others to it.
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The tattoo can only exist as part of the skin, as a drawing always is an incision in the material and therefore cannot be parted from it.
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Which country is real, mine or the teacher's? My wish is that we might progressively lose our confidence in what we think we believe and the things we consider stable and secure, in order to remind ourselves of the infinite number of things still waiting to be discovered.
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To achieve contact with reality is not to transport oneself elsewhere; it is not transcendence but thorough immersion in one's surroundings - a reality which is neither purely physical nor metaphysical, but both at once.
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Reminding people what in reality it is all about, giving them a theme on which to ponder, creating a shock within them, pulling them out of the delusion of non authenticity, enabling them to become aware of their true possibilities.
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Like a researcher in his laboratory, I am the first spectator of the suggestions drawn from the materials. I unleash their expressive possibilities, even if I do not have a very clear idea of what I am going to do. As I go along with my work I formulate my thought, and from this struggle between what I want and the reality of the material - from this tension - is born an equilibrium.
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They were wrestling with canvases, using violent colors and huge brush strokes. I arrived with gray, silent, sober, oppressed paintings. One critic said they were paintings that thought.
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I never view aesthetic ideas as having an existence purely of their own but as a function they have in connection with political or moral values.
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A cross could be a shape for expressing something spacious, such as the coordinators of space. That could be called its first significance or its first relevance.
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I often told the fanatics of realism that there is no such thing as realism in art: it only exists in the mind of the observer. Art is a symbol, a thing conjuring up reality in our mental image. That is why I don't see any contradiction between abstract and figurative art either.
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There is something evocative about the idea of destruction. This act of destruction is the expression of an idea... that what we call reality is not real at all. When I draw a head, for example, I immediately feel an urge to destroy it, to erase it, because the drawing only captures an outward appearance, and for me the vital issue is what lies behind the visual form of the head.
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All my pictures are a kind of revision of my original idea. This is surely very different from the way in which Japanese or Chinese artists work: their themes are pre-ordained, whereas mine are invented at will.
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I am interested in study, reflection, philosophy - but always as a dilettante. I also consider myself a dilettante as a painter.
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If one draws things in a manner which provides only the barest clue to their meaning, the viewer is forced to fill in the gaps by using his own imagination. He is compelled to participate in the creative act, which I consider very important.
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It is what makes conscious of the conditions and laws of observing which applied in this manner become a theme on its own. The activity of consciousness depending on the way the work itself proceeds, becomes the subject of my attention this way and it is precisely because of this voyeuristic attitude toward the own observation and experience of the subject that the conscious analytic dimension in the work shows.
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My activities have never had anything to do with the idea of becoming famous or achieving success. I have always been concerned with getting people to listen to me. In everything I do ... my aim is to make people listen. I want to communicate the things that I love and in which I believe, because I think that people can derive a general benefit from them. What I really want is success in a philosophical sense: I want people to grasp something of the ideas and hopes which I express in painting.
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Obviously, the intention was not to go back to images traditionally valued as worthy or holy images and shapes, but exactly the opposite; its main purpose had to be to realise as sacred art, anything which so far had been regarded as of little value and pitiful.
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With my work I attempt to help man to overcome his alienation; I do this by surrounding his daily life with objects, which confront him in a tactile way with the final and deepest problems of our existence. I want the means that I employ to create the necessary stimulus to be as direct as possible. Instead of giving a sermon on humility, I often prefer to depict humility itself.
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If I can't change the world, at least I want to change the way people look at it.
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An image means nothing. It is just a door, leading to the next door. It will never happen that we will find the truth we are looking for just in an image; it will happen behind the last door that the spectator discovers the truth, because of his own efforts.