I Don't Believe In The Reality Of

Grey. It Makes No Statement Whatever; It Evokes Neither Feelings Nor Associations: It Is Really Neither Visible Nor Invisible. Its Inconspicuousness Gives It The Capacity To Mediate, To Make Visible, In A Positively Illusionistic Way, Like A Photograph. It Has The Capacity That No Other Colour Has, To Make 'nothing' Visible.

If I Don't Know What's Coming - That Is, If I Have No Hard-and-fast Image, As I Have With A Photographic Original - Then Arbitrary Choice And Chance Play An Important Part.

Picturing Things, Taking A View, Is What Makes Us Human; Art Is Making Sense And Giving Shape To That Sense. It Is Like The Religious Search For God.

As Far As The Surface Is Concerned - Oil On Canvas, Conventionally Applied - My Pictures Have Little To Do With The Original Photograph. They Are Totally Painting (whatever That May Mean). On The Other Hand, They Are So Like The Photograph That The Thing That Distinguished The Photograph From All Other Pictures Remains Intact.

What Attracted Me About My Mirrors Was The Idea Of Having Nothing Manipulated In Them. A Piece Of Bought Mirror. Just Hung There, Without Any Addition, To Operate Immediately And Directly. Even At The Risk Of Being Boring. Mere Demonstration. The Mirrors, And Even More The Panes Of Glass, Were Also Certainly Directed Against Duchamp, Against His Large Glass.