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.
Interpretation
This quote reflects on the contrasting perceptions of nature, highlighting its indifference and lack of meaning compared to human emotions.
Gerhard Richter's quote delves into the complex relationship between humanity and nature, suggesting that while landscapes can evoke beauty and nostalgia, they also mask a harsher reality. Nature, devoid of empathy or understanding, exists as an unfeeling force, often working against human desires and needs, which renders our romanticized interpretations untruthful. This duality challenges us to confront nature not only as a source of inspiration but also as a relentless, indifferent entity that stands in opposition to human sentiment.
In practice
In a discussion about the portrayal of nature in art, this quote could highlight differing perspectives.
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.
I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violent, and I am not violent.)
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.'
Originality is... a by-product of sincerity.
It's kind of the filmmaker's job to use visual, cinematic language in a way possible to tell a story that reaches and touches as many people as possible.
When I'm writing a book, I don't have any responsibility to anyone. I'm solitary. I'm writing on my own. I write by hand. And I write every day. I mean, it's part of my daily discipline.
The best I can do is to make a film every two years.
There are thousands of ragas, and they are all connected with different times of the day, like sunrise or night or sunset. It is all based on 72 of what we call 'mela' or scales. And we have principally nine moods, ranging from peacefulness to praying, or the feeling of emptiness you get by sitting by the ocean.
I write plays and poetry at the same time, and I'm always refining, but I'm not obsessive about it. It's what I like to do, what I've always wanted to do.
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