But It Is Also Untrue That I

If The Abstract Paintings Show My Reality, Then The Landscapes And Still-lifes Show My Yearning.

As I See It, All Of Them - Tachists, Action Painters, Informel Artists, And The Rest - Are Only Part Of An Informel Movement That Covers A Lot Of Other Things As Well. I Think There's An Informel Element In Beuys, As Well; But It All Began With Duchamp And Chance, Or With Mondrian, Or With The Impressionists. The Informel Is The Opposite Of The Constructional Quality Of Classicism - The Age Of Kings, Or Clearly Formed Hierarchies.

I Pursue No Objectives, No Systems, No Tendency; I Have No Program, No Style, No Direction. I Have No Time For Specialized Concerns, Working Themes, Or Variations That Lead To Mastery. I Steer Clear Of Definitions. I Don’t Know What I Want. I Am Inconsistent, Non-committal, Passive; I Like The Indefinite, The Boundless; I Like Continual Uncertainty.

In The Beginning I Tried To Accommodate Everything There That Was Somewhere Between Art And Garbage And That Somehow Seemed Important To Me And A Pity To Throw Away. After A While, Some Sheets In The Atlas Acquired Another Value, After All - That Is, It Seemed To Me That They Could Stand On Their Own Terms, Not Only Under The Protection Of The Atlas.

Of Course, Pictures Of Objects Also Have This Transcendental Side To Them. Every Object, Being Part Of An Ultimately Incomprehensible World, Also Embodies That World; When Represented In A Picture, The Object Conveys This Mystery All The More Powerfully, The Less Of A 'function' The Picture Has. Hence, For Instance, The Growing Fascination Of Many Beautiful Old Portraits.