In case the buyer wishes this act of integration of the work of art with himself to take place, Yves Klein must.. ..plus two witness, throw half of t… - Yves Klein

I made the flames lick the surface of the painting in such a way that is recorded the spontaneous traces of the fire. But what is it that provokes in me this pursuit of the impression of fire? Why must I search for its traces? Because every work of creation, quite apart from its cosmic position, is the representation of pure phenomenology – every phenomenon manifests itself of its own accord. This manifestation is always distinct from form, and is the essence of the immediate, the trace of the immediate.

Blue has no dimensions, it is beyond dimensions, whereas the other colours are not. They are pre-psychological expanses, red, for example, presupposing a site radiating heat.. .All colours arouse specific associative ideas, psychologically material or tangible, while blue suggests at most the sea and sky, and they, after all, are in actual, visible nature what is most abstract.

Through all these researches into an art that would lead to immaterialisation, Werner Ruhnau [German architect] and I came together in the architecture of the air. He was hindered by the last obstacle that even a w:Mies van der Rohe [also a German architect, famous for his reflecting glass skyscrapers in the U.S.] hadn’t been able to overcome: the roof, the screen that separates us from the sky, from the blue sky. And I was hindered by the screen that the tangible blue on the canvas constitutes, which deprives man of a constant vision of the horizon.