A Quote by Jackson Pollock
The pictures I contemplate painting would constitute a halfway state and attempt to point out the direction of the future - without arriving there completely
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It's rare that I'm able to get to my desk in the morning without stopping halfway there, turning around, and going in the opposite direction because of a pressing need to straighten all the pictures on the walls, floss my teeth a second time, and make certain that there really are 100 postage stamps in the roll of stamps I bought yesterday.
By keeping the mind in the present, unless you deliberately want to contemplate the past or future, it's possible to firmly face life without fear. Then, no thoughts of past failures or future problems will exist in the mind, and a truly positive mental state will result-fudoshin, the "immovable mind".
In 1915 Sophie Tauber and I carried out our first works in the simplest forms, using painting, embroidery and pasted paper (without using oil colors to avoid any reference with usual painting). These were probably the first manifestations of their kind, pictures that were their own reality, without meaning or cerebral intention. We rejected everything in the nature of a copy or a description, in order to give free flow to what was elemental and spontaneous.
Meditate nothing. Learn to contemplate.
Contemplate glory. There will be a light.
Contemplate Truth until it burns your eyes out.
I was not out to paint beautiful pictures; even painting good pictures was not important to me. I wanted only to help the truth burst forth.
But if we come back, if German men come back, if British men come back, and Japs, and French, and all the other men, all of us talking, writing, painting, making movies of heroes, and cockroaches and foxholes and blood, then future generations will always be doomed to future Hitlers. It's never occurred to boys to have contempt for wars, to point to soldiers' pictures in history books, laughing at them. If German boys had learned to be contemptuous of violence, Hitler would have had to take up knitting to keep his ego warm.
I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.
People believe pictures. It's a photograph that's in your passport, not a painting. Now,
George Bernard Shaw said, 'I would exchange every painting of Christ for one snapshot.' That's what the power of photography is.
No matter what I tend to be doing, generally people always think I'm crazy, first of all, because I'm always talking about things in the future that haven't happened yet, and people have a hard time believing what's gonna happen. Secondly, I'm almost always a contrarian, whatever direction everybody else is going in, I'm probably figuring out a way to go in a completely opposite direction.
People think of time as a continuum composed of points which is stretched out at a line, and even if you add a direction to it and say one direction on the line is past and the other direction is future, or better, one direction is "earlier than" and the other direction is "later than", you're still thinking of it as like a geometrical line which is stretched out rather than as a dynamic process of becoming.
The desire to get from point A to point B in the shortest, most efficient amount of time without ever wandering off path, can mean you miss out on those happy accidents that push you further and faster in a direction you never even considered.
I quit painting very early. I just jumped ship. In a way, the window is the tragic possibility - you can jump out into your future. That kind of action is more like a direction. It's that same thinking that brought me to New York.
The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions.. the people who weep before my pictures are having the same religious experience I had when painting them. And if you say you are moved only by their color relationships then you miss the point.
The safest place to be is always halfway into your future, without even knowing what it is.
The pictures were painted directly through me, without preliminary drawings and with great power. I had no idea what the pictures would depict and still I worked quickly and surely without changing a single brush-stroke.
It was astonishing when at one point, I got the idea of how to make artifical clouds with a collaborator, we had pictures made which were theoretically completely artificial pictures based upon that one very simple idea. And this picture everybody views as being clouds.
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