A Quote by Octavio Paz

Abstract painting seeks to be a pure pictorial language, and thus attempts to escape the essential impurity of all languages: the recourse to signs or forms that have meanings shared by everyone.
Painting is... a richer language than words... Painting operates through signs which are not abstract and incorporeal like words. The signs of painting are much closer to the objects themselves.
A lot of my work is about what's abstract and what's pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.
Language is decanted and shared. If only one person is left alive speaking a language - the case with some American Indian languages - the language is dead. Language takes two and their multiples.
The essential of painting is that 'something', that 'ethereal glue,' that 'intermediary product' which the artist exudes with all his creative being and which he has the power to place, to encrust, to impregnate into the pictorial matter of the painting.
Painting, like music, has nothing to do with the reproduction of nature, nor interpretation of intellectual meanings. Whoever is able to feel the beauty of colors and forms has understood nonobjective painting.
One thus sees that a new kind of theory is needed which drops these basic commitments and at most recovers some essential features of the older theories as abstract forms derived from a deeper reality in which what prevails in unbroken wholeness.
Mathematics is pure language - the language of science. It is unique among languages in its ability to provide precise expression for every thought or concept that can be formulated in its terms.
What kinds of problems, and what kinds of meanings, happen in the paint? Or as one historian puts it, 'What is thinking in painting, as opposed to thinking about painting?' These are important questions, and they are very hard to answer using the language of art history.
Every human being should know two languages: the language of society and the language of signs. One serves to communicate with other people, the other serves to understand God's messages.
No-one who has a real understanding of the art of painting attaches any importance to what we call the subject of a picture - what is represented. To one who feels the language of pictorial form, all depends on how it is presented, nothing on what.
The first spiritual law of success is the Law of Pure Potentiality. This law is based on the fact that we are, in our essential state, pure consciousness. Pure consciousness is pure potentiality; it is the field of all possibilities and infinite creativity. Pure consciousness is our spiritual essence. Being infinite and unbounded, it is also pure joy. Other attributes of consciousness are pure knowledge, infinite silence, perfect balance, invincibility, simplicity, and bliss. This is our essential nature. Our essential nature is one of pure potentiality.
Language changes. If it does not change, like Latin it dies. But we need to be aware that as our language changes, so does our theology change, particularly if we are trying to manipulate language for a specific purpose. That is what is happening with our attempts at inclusive language, which thus far have been inconclusive and unsuccessful.
The lawyers who really begin to address the problems of their clients address them without recourse to our courts, although that recourse is absolutely essential in providing leverage.
Why all these signs around us that make me doubt language and submerge me in meanings, drowning reality instead of extracting it from the imaginary?
We are thus assisted by natural objects in the expression of particular meanings. But how great a language to convey such pepper-corn informations!
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