Through Faults and Errors

To define how much art is in a work is of course very difficult. There are works where art is very apparent, others where it is more hidden or less refined. And that is a pity. It depends on the individual too. One can see things another does not see. One can communicate about it too in some cases. But finally a work of art, a painting, a sculpture, or whatever, a building, is there to be seen. It is difficult to find equivalence in words, to talk about it is a difficult thing. It’s true. In very general terms one can of course say certain things.

More there is relationship between the parts, the more satisfying it is as a whole. But these are generalities. If there are lines up there in a work, there have to be relations between the lines which are up there, which appeal with charm. It’s the same for the color. If a certain color is without answer in a work, the eye is not satisfied. We know that. If there’s a certain green we need a certain red or violet, at least on the side. And to find out which there is only experience, trial, which can tell you.

I feel we learn most by our faults and errors we make so no way should there be despair if he makes bad paintings, because the good ones can only come out of bad ones. If we are very impressed by such and such a painting we should ask ourselves what makes it, how is it like, and generally define some answers too which are helping ourselves, helping us unfold.