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" "It [grey color] makes no statement whatever.. .It has the capacity that no other color has, to make 'nothing' visible. To me grey is the welcome and only possible equivalent for indifference, non-commitment, absence of opinion, absence of shape (note 99).. ..but, grey like formlessness and the rest, can be real only as an idea.. ..The painting is then a mixture of grey as a fiction and grey as a visible, designated area of color.
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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This one is too elegant, too shiny, like jewelry. It seeks applause. This is clear to me, but difficult to explain, which is what makes abstraction so fascinating. In one sense, abstract art is absolutely nothing, stupid. In 100 years, maybe people will just think it's garbage. But somehow we see something in it; we have a sense of quality. [searching for an illustration of his point, Richter leafs through a catalog to find some of his 'gray monochromes']. I was doing these [monochromes] when I was getting divorced. When you feel totally empty, you do this - but then I saw that one picture was actually better than another. Both were miserable, but the difference was interesting. I loved this: that there must be something, some higher faculty, some progressive sensibility that we find in abstraction. But it is impossible to describe.
The first 'Colour charts' were unsystematic. They were based directly on commercial colour samples. They were still related to Pop Art. In the canvases that followed, the colours were chosen arbitrarily and drawn by chance. Then, 180 tones were mixed according to a given system and drawn by chance to make four variations of 180 tones. But after that the number 180 seemed too arbitrary to me, so I developed a system based on a number of rigorously defined tones and proportions.. .Based on mixtures of the three primary colours, along with black and white, I come up with a certain number of possible colours and, by multiplying these by two or four, I obtain a definite number of colour fields that I multiply yet again by two, etc. But the complete realization of this project demands a great deal of time and work.