II : 32–33

THE COLOR OF MY PAINTINGS

They are juxtaposed for various and changing visual effects. They are to challenge or to echo each other, to support or oppose one another. The contacts, respectively boundaries, between them may vary from soft to hard touches, may mean pull and push besides clashes, but also embracing, intersecting, penetrating.

Despite an even and mostly opaque application, the colors will appear above or below each other, in front or behind, or side by side on the same level. They correspond in concord as well as in discord, which happens between both, groups and singles.

Such action, reaction, interaction — or interdependence — is sought in order to make obvious how colors influence and change each other; that the same color, for instance — with different grounds or neighbors — looks different. But also, that different colors can be made to look alike. It is to show that 3 colors can be read as 4, and similarly 3 colors as 2, and also 4 as 2.

Such color deceptions prove that we see colors almost never unrelated to each other and therefore unchanged; that color is changing continually; with changing light, with changing shape and placement, and with quantity which denotes either amount (an areal extension) or number (recurrence). And just as influential are changes in perception depending on changes of mood, and consequently receptiveness.
All this will make aware of an exciting discrepancy between physical fact and psychic effect of color.

But besides relatedness and influence I should like to see that my colors remain, as much as possible, a “face” — their own “face,” as it was achieved — uniquely — and I believe consciously — in Pompeian wall-paintings — by admitting coexistence of such polarities as being dependent and independent — being individual and individual. (An early statement.)