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" "I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violence, and I am not violent).
Gerhard Richter (born 9 February 1932) is a prominent German artist who is considered by some critics to be one of the most important German artists of the post-World War II period.
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When I paint an abstract picture (the problem is very much the same in other cases), I neither know in advance what it is meant to look like nor, during the painting process, what I am aiming at and what to do about getting there. Painting is consequently an almost blind, desperate effort, like that of a person abandoned, helpless, in totally incomprehensible surroundings – like that of a person who possesses a given set of tools, materials and abilities and has the urgent desire to build something useful which is not allowed to be a house or a chair or anything else that has a name; who therefore hacks away in the vague hope that by working in a proper, professional way he will ultimately turn out something proper and meaningful.
Chance as a theme and as method. A method of allowing something objective to come into being; a theme for creating a simile (picture) of our survival strategy:
(1) The living method, which not only processes conditions, qualities and events as they chance to happen, but exists solely as that non-static 'process', and in no other way.
(2) Ideological: denial of the planning, the opinion and the world-view whereby social projects, and subsequently 'big pictures', are created. So what I have often seen as a deficiency on my part – the fact that I've never been in a position to 'form a picture' of something – is not incapacity at all but an instinctive effort to get at a more modern truth: one that we are already living out in our lives (life is not what is said but the saying of it, not the picture but the picturing).
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This superficial blurring has something to do with the incapacity I have just mentioned. I can make no statement about reality clearer than my own relationship to reality; and this has a great deal to do with imprecision, uncertainty, transience, incompleteness, or whatever. But this doesn't explain the pictures. At best it explains what led to their being painted.