Quis costodiet ipsos custodies? (Who will watch the watchers?)
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.
The dominant invades the entire picture, as it were. In this way I seek to individualize the color, because I have come to believe that there is a living world of each color and I express these worlds.
The immaterial blue colour shown at Iris Clert's in April had in short made me inhuman, had excluded me from the world of tangible reality; I was an extreme element of society who lived in space and who had no means of coming back to earth. Jean Tinguely saw me in space and signaled to me in speed to show me the last machine to take to return to the ephemerality of material life.
Color is sensitivity in material form, substance in its purest form.
I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figurative or abstract, seem to me like prison windows in which the lines, precisely are the bars.
I was trying to show colour, but I realized at the private view that the public were prisoners of a preconceived point of view and that, confronted with all these surfaces of different colours, they responded far more to the inter-relationship of the different propositions, they reconstituted the elements of a decorative polychromy.
The current system punishes communities which make the investment in creating landfills, only to have them filled by states which refuse to adequately address their waste issues.
Would PBS go so far as to give air time to an even more extreme kind of disinformer, a Holocaust denier?
I'm always interested in something when it isn't familiar to me.
Light like thin grey soup seeped through the windows. The door opened and Mrs. Dark came in, followed by her sister, who had no head, only the white bone of her spine protruding from her raggedly severed neck.