Antoni Tàpies Quotes

One day I attempted to reach silence directly, with greater resignation, surrendering to the fate that governs any profound struggle. My millions of furious clawings became millions of grains of dust, of sand.. .A new geo-graphy lit my way, carrying me from surprise to surprise: suggestions of unusual combinations and molecular structures, of atomic phenomena, of the world of galaxies or of images in a microscope. The symbolism of dust — 'to be one with dust, here lies the profound identity, that is, the inner profundity between man and nature' (Tao Te Ching) —, of ashes, of the earth from whence we come and to which we return, of the solidarity born when we realise that the differences among ourselves are like those between one grain of sand and the next..

In: Tàpies, Werke auf Papier 1943 – 2003, Achim Sommer, Kunsthalle Emden, Altana 2004, p. 27

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.

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.

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

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.

In: Tàpies, Werke auf Papier 1943 – 2003, Achim Sommer, Kunsthalle Emden, Altana 2004, p. 25

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.

It is essential to bear in mind that the world of the mystics, like that of modern physics, cannot always be 'explained' in normal words, but often 'shows' itself the better through visual images.. [from the accumulation of matter and of objects to the radicalism of a gesture, it is a matter of] painting the essential and nothing more (Tàpies is citing here Llull)

The most sensational surprise was the sudden discovery, one day, that my pictures, for the first time in history, had become walls. By means of what strange process had I arrived at such precise images? And why did they make me, their first viewer, quake with emotion?

Everything takes place in an infinitely greater field than what is framed by the size of the picture or by what is materially in the picture. This matter [door/window/wall] is but a support inviting the viewer to participate in the much larger game of a thousand and one visions and feelings; it is the talisman lifting or sinking walls into the deepest recesses of our spirit, opening and at times closing windows in the construction of our impotence, our bondage, or our freedom. The 'subject-matter' then may be found in the picture or it may exist solely inside the spectator's head.

In: Tàpies, Werke auf Papier 1943 – 2003, Achim Sommer, Kunsthalle Emden, Altana 2004, p. 26

My drawings [c. 1945 - 1955] were almost always figures, many pseudo-self-portraits, which I often set against a kind of sun or focus, as if the whole universe radiated from my head, from a point between my eyes. My few oils make even clearer this vision of an axial character, centrally placed, facing the spectator, or turned around, with symmetrical postures, as one in prayer; they show the influence of [medieval] Catalan Romanesque art. In general, molecular rays from the periphery appear to form the central figure and converge in his head, or come out of it, and give life to his surroundings.

..the wall, the window or the door — and so many other images that parade in my canvases — are indeed there and I am far from trying to hide the fact. With this I mean that I do not think that images, in my works, should be considered as indifferent excuses to prop visual elements, as the 'subject-matters' were said to be for Impressionists and Fauves. From those 'subject-matters', it is further said, the ensuing abstractionists or Informalists liberated themselves. My walls, windows or doors — or at least my suggestions of them — do not avoid their responsibility and hold their full archetypal or symbolic weight.

Later came 'the hour of solitude'. Inside my tiny bedroom-studio, I began my forty days in the desert; I do not know if they are over yet. With a desperate, feverish rage I took formal experimentation to maniacal levels. Each canvas was a battlefield where wounds multiplied ad infinitum. And then came the surprise. All that frenetic movement, all that gesticulation, all that unending dynamism, by dint of the scratches, blows, scars, divisions and subdivisions .. ..suddenly took a qualitative leap. My eye no longer perceived differences. Everything congealed in a uniform mass. What had been ardent ebullition transformed itself into static silence. It was like a great lesson in humility for the pride of my unbridled quest.