Top 15 Antoni Tàpies Quotes

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.

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.

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.

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.

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.

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.

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 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.

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.

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. That is what great thinkers have taught me, above all the philosophers of the Far East, for whom true wisdom — which I am far from achieving — is the conjunction of samsara (the ordinary world) and nirvana (profound reality). 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 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.

In 'Celebració de la mel', Antoni Tàpies, in La peinture et le vide, Fundació Antoni Tàpies, Barcelona, 1993, p. 41 –46

Metaphors of space have always been introduced into painting, the play of fullness and emptiness, volumes, surfaces, light and shade.. .And, in recent painting, in particular, the notion of 'emptiness' has assumed great significance.. .This interest in emptiness, in nothingness, is found in many disciplines, in particular in an important sector of modern philosophy. We know, for example, that the philosophers such as Heidegger or Sartre have, at a given moment, made nothingness the center of their thought...

In actual fact, contemplation is not a form of inactivity but an exercise.

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)