At some point, I get a weird feeling, and that's when I know it's done. I probably ruin a lot of really perfectly fine things. So part of working on paper, and trying to work really fast, is to see if I can expand the area of not being driven by taste. Not saying, "This looks good, I'll stop."
Amy SillmanYou can make a beautiful thing, but there's no problem in it. I like the idea of doing a thing, wrecking a thing, questioning a thing to the point where you have pushed it to the edge, and then recuperating it.
Amy SillmanI make paintings really slowly because I change them and change them and change them and change them and change them. I don't really know how to not do that. I'm not very free in a way. Even though it looks free. But it's not.
Amy SillmanI've never read a book on shape. I've read books on gesture; I've read tons of books on color, surface, field, ground, representation, abstraction. But I've never read a book on what a shape is.
Amy SillmanThatโs the huge problem with an abstract painting. When are you done? Youโre done when you donโt want to do it anymore.
Amy SillmanI'm in this process of trying to create a free space. Like an open field, where figure and ground are in very ambivalent, complex relationships. On top of that, I also wanted to see if I could try to blurt something out, or make something completely immediate, that ends up fitting perfectly.
Amy Sillman