Aspects and movable aspects.
To what degree movable?
Entities
splitting.
The idea of background
(and background music)
idea of neutrality
air and the idea of air
(In breathing—in and out)
Satie’s “Furniture Music” now
serving as background for music
as well as background for conversation.
Puns on intentions.
Take an object
Do something to it
Do something else to it
″ ″ ″ ″ ″
One thing made of another. One thing used as another.
An Arrogant Object. Something to be folded or bent or stretched, (SKIN?).
We say one thing is not another thing.
Or sometimes we say it is.
Or we say “they are the same.”
Whether to see the 2 parts as one thing or as two things.
Think of the edge of the city and the traffic there. Some clear souvenir—A photograph (A newspaper clipping caught in the frame of the mirror).
My work became a constant negation of impulses.
At times I will attempt to do something which seems quite uncalled for in the painting, so that the work won’t proceed so logically from where it is, but will go somewhere else.
My experience of life is that it’s very fragmented. In one place, certain kinds of things occur, and in another place a different kind of thing occurs. I would like my work to have some vivid indication of those differences. I guess, in painting, it would amount to different kinds of space being represented in it.
My thinking is perhaps dependent on real things…. I’m not willing to accept the representation of a thing as being the real thing, and I am frequently unwilling to work with the representation of the thing as … standing for the real thing. I like what I see to be real, or to be my idea of what is real. And i think i have a kind of resentment against illusion when i can recognize it. Also, a large part of my work has been involved with the painting as object, as real thing in itself. And in the face of that ‘tragedy,’ so far, my general development … has moved in the direction of using real things as painting. That is to say i find it more interesting to use a real fork as painting than it is to use painting as a real fork.
My work feeds upon itself.
Most of my thoughts involve impurities …
A Dead Man.
Take a skull.
Cover it with paint. Rub it
against canvas. Skull against
canvas.
Shake (shift) parts of some of the letters in voice (2). A not complete unit or a new unit. The elements in the 3 parts should neither fit nor not fit together. One would like not to be led. Avoid the idea of a puzzle which could be solved. Remove the signs of thought. It is not thought which needs showing.
After the first Voice, I suppose there was something left over, some kind of anxiety, some question about the use of the word in the first painting. Perhaps its smallness in relation to the size of the painting led me to use the word in another way, to make it big, to distort it, bend it about a bit, split it up.
In my early work, I tried to hide my personality, my psychological state, my emotions. This was partly due to my feelings about myself and partly due to my feelings about painting at the time. I sort of stuck to my guns for a while but eventually it seemed like a losing battle. Finally one must simply drop the reserve. I think some of the changes in my work relate to that.
Try to use together
the wall
the layers
the imprint.
The question of what is a part and what is a whole is a very interesting problem, on the infantile level, yes, on the psychological level, but also in ordinary, objective space.
Entities/splitting.
An object that tells of the loss, destruction, disappearance of objects. Does not speak of itself. Tells of others. Will it include them? Deluge.
I think that one wants from a painting a sense of life. The final suggestion, the final statement, has to be not a deliberate statement but a helpless statement. It has to be what you can’t avoid saying.
Yes, but it’s skin.
I think it is a form of play or a form of exercise and it’s in part mental and in part visual but that’s one of the things we like about the visual arts the terms in which we’re accustomed to thinking are adulterated or abused.
