Painting is another form of thinking.
Interpretation
Painting is a method of expressing thoughts and ideas creatively.
Gerhard Richter suggests that painting transcends mere aesthetics; it is a cognitive process that allows the artist to convey complex ideas and emotions. Through the act of painting, one engages in a dialogue with their thoughts, revealing layers of understanding that go beyond verbal communication.
In practice
During an art lecture, to highlight the depth of artistic expression.
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.
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.
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.'
I don't understand why the press is so interested in speculating about my appearance, anyway. What does my face have to do with my music or my dancing?
Why be in music, why write songs, if you can't use them to explore life or an idealized vision of life? I believe a lot of our lives are spent asleep, and what I've been trying to do is hold on to those moments when a little spark cuts through the fog and nudges you.
What art was to the ancient world, Science is to the modern; the distinctive faculty. In the minds of men, the useful has succeeded to the beautiful.
After the Rodgers and Hammerstein revolution, songs became part of the story, as opposed to just entertainments in between comedy scenes.
We cling nervously to the melody, but we don't handle it freely, we don't really make anything new out of it, we merely overload it.
Hot weather opens the skull of a city, exposing its white brain, and its heart of nerves, which sizzle like the wires inside a lightbulb. And there exudes a sour extra-human smell that makes the very stone seem flesh-alive, webbed and pulsing.
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