There are two problems in painting. One is to find out what painting is and the other is to find out how to make a painting. The first is learning something and the second is making something.
One learns about painting by looking at and imitating other painters. I can’t stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting. After looking comes imitating. In my own case it was at first largely a technical immersion. How did Kline put down that color? Brush or knife or both? Why did Guston leave the canvas bare at the edges? Why did H. Frankenthaler use unsized canvas? And so on. Then, and this was the most dangerous part, I began to imitate the intellectual and emotional processes of the painters I saw. So that rainy winter days in the city would force me to paint Gandy Brodies, as bright clear days at the seashore would force me to paint De Staels. I would discover rose madder and add orange to make a Hofmann. Fortunately, one can stand only so much of this sort of thing. I got tired of other people’s painting and began to make my own. I found, however, that I not only got tired of looking at my own paintings but that I also didn’t like painting them at all. The painterly problems of what to put here and there and how to make it go with what was already there became more and more difficult and the solutions more and more unsatisfactory. Until finally it became obvious that there had to be a better way.
There were two problems which had to be faced. One was spatial and the other methodological. In the first case I had to do something about relational painting, i.e., the balancing of the various parts with and against each other. The obvious answer was symmetry – make it the same all over. The question still remained, though, of how to do this in depth. A symmetrical image or configuration placed on an open ground is not balanced out in the illusionistic space. The solution I arrived at – and there are probably quite a few, although I know of only one other, color density – forces illusionistic space out of the painting at a constant rate by using a regulated pattern. The remaining problem was simply to find a method of paint application which followed and complemented the design solution. This was done by using the house painter’s technique and tools.
This is the text of a talk given to art students at the Pratt Institute, New York, at the time of the ‘Sixteen Americans’ exhibition (1971)