It takes time, see. You finish painting the painting and then you turn it to the wall. I mean, you say, does it have it or doesn't it have it? If it doesn't have it, you throw it away, but if you think it has it, you turn it to the wall. And then when you have made some more work, then you turn them all over. And you, again, try to see exactly what it does mean and just exactly how effectively you have rendered this meaning.

Everything is contemplated in the mind without meditation. We make a very complicated response. Just to look at a floating branch evokes very complicated objective and nonobjective responses. The artist must slow all this down, mentally. It is this mental experience that makes the representation of beauty possible.

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My [artworks] have neither object nor space nor line nor anything – no forms. They are light, lightness, about merging, about formlessness, breaking down form. You wouldn’t think of form by the ocean. You can go in if you don’t encounter anything. A world without objects, without interruption, making a work without interruption or obstacle. It is to accept the necessity of this simple, direct going into a field of vision as you could cross and empty beach to look at the ocean.

Beauty is very much broader than just to the eye. It is our whole, positive response to life. An artist is fortunate in that his work is the inner contemplation of beauty, of perfection in life. We cannot make anything perfectly, but with inner contemplation of perfection, we can suggest it.

Nature is like parting a curtain, you go into it. I want to draw a certain response like this.. ..that quality of response from people when they leave themselves behind, often experienced in nature, an experience of simple joy.. .My paintings are about merging, about formlessness.. .A world without objects, without interruption.

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