I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violent, and I am not violent.)
Interpretation
The quote expresses a preference for simplicity and authenticity over ostentation and imposed styles.
Gerhard Richter's quote reflects a belief in the value of simplicity and genuine expression in art and life. He associates style with violence, suggesting that the imposition of style can overshadow the true essence of things, including nature, photographs, and even oneself. His love for 'everything that has no style' indicates an appreciation for authenticity and a rejection of superficiality.
In practice
In an art critique, one might say, 'As Gerhard Richter famously noted, I also appreciate simplicity in art nature.'
Painting is the making of an analogy for something non-visual and incomprehensible - giving it form and bringing it within reach. And that is why good paintings are incomprehensible. Creating the incomprehensible has absolutely nothing to do with turning out any old bunkum, because bunkum is always comprehensible.
Form is all we have to help us cope with fundamentally chaotic facts and assaults. Formulating something is a great start. I trust form, trust my feeling or capacity to find the right form for something. Even if that is only by being well organized. That too is form.
Painting is another form of thinking.
My landscapes are not only beautiful, or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful.' 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.
To talk about paintings is not only difficult but perhaps pointless too. You can only express in words what words are capable of expressing-- what language can communicate. Painting has nothing to do with that.
Almost every work of art is an analogy. When I make a representation of something, this too is an analogy to what exists; I make an effort to get a grip on the thing by depicting it. I prefer to steer clear of anything aesthetic, so as not to set obstacles in my own way and not to have the problem of people saying: 'Ah, yes, that's how he sees the world, that's his interpretation.'
I'm surprised by the talent I find all over. There are always new chefs who propose many interesting new ideas, new ways of looking at ingredients.
It was not the story of design or clothes, it was the fantasy of women that made me want to work in fashion.
What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter - a soothing, calming influence on the mind, rather like a good armchair which provides relaxation from physical fatigue.
I had still the ambition, formed in Sligo in my teens, of living in imitation of Thoreau on Innisfree, a little island in Lough Gill, and when walking through Fleet Street very homesick I heard a little tinkle of water and saw a fountain in a shop window which balanced a little ball upon its jet, and began to remember lake water. From the sudden remembrance came my poem Innisfree.
For the film maker must come by his convention, as painters and writers and musicians have done before him.
Yes, I can play younger than my age. But I can play characters older than I am, too. I'm not an actor who can just play the kid.
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