Antoni Tapies Quotes

To achieve contact with reality is not to transport oneself elsewhere, it is not transcendence but thorough immersion in one's surroundings. A reality which is neither purely physical nor metaphysical, but both at once.

I often told the fanatics of realism that there is no such thing as realism in art: it only exists in the mind of the observer. Art is a symbol, a thing conjuring up reality in our mental image. That is why I don't see any contradiction between abstract and figurative art either.

Art should startle the viewer into thinking about the meaning of life.

The artist has to make the viewer understand that his world is too narrow, he has to open up to new perspectives.

An image means nothing. It is just a door, leading to the next door. It will never happens that we will find the truth we are looking for just in an image; it will happen behind the last door that the spectator discover the truth, because of his own efforts.

Reminding people what in reality it is all about, giving them a theme on which to ponder, creating a shock within them, pulling them out of the delusion of non authenticity, enabling them to become aware of their true possibilities.

If one draws things in a manner which provides only the barest clue to their meaning, the viewer is forced to fill in the gaps by using his own imagination. He is compelled to participate in the creative act, which I consider very important.

When I talk of reality, I am always thinking of essentials. Profundity is not located in some remote, inaccessible region. It is rooted in everyday life.

They were wrestling with canvases, using violent colors and huge brush strokes. I arrived with gray, silent, sober, oppressed paintings. One critic said they were paintings that thought.

Like a researcher in his laboratory, I am the first spectator of the suggestions drawn from the materials. I unleash their expressive possibilities, even if I do not have a very clear idea of what I am going to do. As I go along with my work I formulate my thought, and from this struggle between what I want and the reality of the material - from this tension - is born an equilibrium.

The highest wisdom adopts the humblest of bodies.

Starting with approaching the spot where the painting is to be done, meanwhile realising the emptiness of the mind, up to the method of 'the flying white', of the rule of the singular stroke of the brush.. ..there is a proper tradition in which the artist is fully aware of the fact that only the pure and empty spontaneity enables him to embrace without hesitating all apparitions and to truly penetrate into the roots of things.

I am interested in study, reflection, philosophy - but always as a dilettante. I also consider myself a dilettante as a painter.

I feel the desire, or rather the intense need, to do something useful for society, and that is what stimulates me. In every situation I always look for what is positive and beneficial for my fellow citizens.

Painting quickly is a calculated act to block out rational thought.

With my work I attempt to help man to overcome his alienation; I do this by surrounding his daily life with objects, which confront him in a tactile way with the final and deepest problems of our existence. I want the means that I employ to create the necessary stimulus to be as direct as possible. Instead of giving a sermon on humility, I often prefer to depict humility itself.

Which country is real, mine or the teacher's? My wish is that we might progressively lose our confidence in what we think we believe and the things we consider stable and secure, in order to remind ourselves of the infinite number of things still waiting to be discovered.

The tattoo can only exist as part of the skin, as a drawing always is an incision in the material and therefore cannot be parted from it.

Obviously, the intention was not to go back to images traditionally valued as worthy or holy images and shapes, but exactly the opposite; its main purpose had to be, to realise as sacred art anything which so far had been regarded as of little value and pitiful.

There is something evocative about the idea of destruction. This act of destruction is the expression of an idea... that what we call reality is not real at all. When I draw a head, for example, I immediately feel an urge to destroy it, to erase it, because the drawing only captures an outward appearance, and for me the vital issue is what lies behind the visual form of the head.

In our world, in which religious images are losing their meaning, in which our customs are getting more and more secular, we are losing our sense of the eternal. I think it's a loss that has done a great deal of damage to modern art. Painting is a return to origins.

My activities have never had anything to do with the idea of becoming famous or achieving success. I have always been concerned with getting people to listen to me. In everything I do ... my aim is to make people listen. I want to communicate the things that I love and in which I believe, because I think that people can derive a general benefit from them. What I really want is success in a philosophical sense: I want people to grasp something of the ideas and hopes which I express in painting.

A cross could be a shape for expressing something spacious; such as the coordinators of space. That could be called its first significance or its first relevance.

All my pictures are a kind of revision of my original idea. This is surely very different from the way in which Japanese or Chinese artists work: their themes are pre-ordained, whereas mine are invented at will.

I never view aesthetic ideas as having an existence purely of their own but as a function they have in connection with political or moral values.

It is what makes conscious of the conditions and laws of observing which applied in this manner become a theme on its own. The activity of consciousness depending on the way the work itself proceeds, becomes the subject of my attention this way and it is precisely because of this voyeuristic attitude toward the own observation and experience of the subject that the conscious analytic dimension in the work shows.

I would say off the cuff that I am an anxious person. I worry about everything. I need to know everything. I tend to live in a state of anxiety with the feeling that life is some kind of great catastrophe.

The material presence of the work only serves as a conveyer launching an invitation to the observer to take part of the comprehensive game of the thousand and one emotions and visions.

At lucky moments this emanation could overwhelm the spectator in such a way, that because of all sorts of associations in his thinking, he could finally be taken to those areas which also had moved me so deeply and made me think I should draw the attention of others to it.

The dramatic sufferings of adults and all the cruel fantasies of those of my own age, who seemed abandoned to their own impulses in the midst of so many catastrophes, appeared to inscribe themselves on the walls around me.

The artist may rightly venture the opinion that he does not convey ideas, does not preach, nor that he intents to convert people by using mass communication techniques.. .Better than handing out all kinds of wise advice, he could show life itself; he could awake forces lying dormant in everybody, he could launch an invitation to create direct and personal experiences.

In the potential of absurdity, hiding in the disparate combination of the various different subjects which in themselves are nothing but daily items equally in the exclusive representation of a normal item taken out of their usual context, is by far the most radical - in its effect comparable to a Japanese Zen koan - paradox to be witnessed, which modern art has produced, one of the most forceful impulses that generated from it.

My illusion is to have something to transmit. If I can't change the world, at least I want to change the way people look at it.