William Baziotes Quotes
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As for the subject matter in my painting.. ..it is very often an incidental thing in the background, elusive and unclear, that really stirred me.
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It is the mysterious that I love in painting. It is the stillness and the silence. I want my pictures to take effect very slowly, to obsess and to haunt.
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Let the poet dream his dreams. Yet, the poet must look at the world; must enter into other men's lives; must look at the earth and the sky, must examine the dust in the street; must walk through the world and his mirror.
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One hundred artists introduce us to one hundred worlds.
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One can begin a picture and carry it through and stop it and do nothing about the title at all.
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There is always an unconscious collaboration among artists.. ..the artist who imagine himself a Robinson Crusoe is either a primitive or a fool.
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Each painting has its own way of evolving. When the painting is finished, the subject reveals itself.
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The eye seems to be responding to something living.
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I kept.. ..returning to the (ancient Roman) wall paintings with their veiled melancholy and elegant plasticity.
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In the beginning I drew and painted from nature in order to know her. Then later, only to fall under her spell. And today, to let her mirror my thoughts and feelings.
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Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing is the experience; so that we are not quite clear why we are engaged on a particular work. And because we are more interested in plastic matters than we are in matters of words, once can begin a painting and carry it through and stop it and do nothing about the title at all. All pictures are full of association.
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I can not evolve any concrete theory about painting.
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I think when a man first discovers that two and two is four, there is 'beauty' in that; and we can see why. But if people stand and look at the moon and one says 'I think it's just beautiful tonight' and the other says 'The moon makes me feel awful' we are both 'clear'. A geometric shape - we know why we like it; and an unreasonable shape; it has a certain mystery that we recognize as real; but it is difficult to put these things in an objective way.
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The large gray spiked form rising from the bottom of the picture is to me the symbol of death and ruin. And finally the black ovoid form is the symbol of fire, lava and destruction.
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I consider my painting finished when my eyes goes to a particular spot on the canvas. But if I put the picture away about thirty feet on the wall and the movements keep returning to me and the eye seems to be responding to something living, then it is finished.
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