The colored planes, as much by position and dimension as by the greater value given to color, plastically express only relationships and not forms.

I, too, find the flower beautiful in its outward appearance. But a deeper beauty lies concealed within.

The more basic the color, the more inward, the more pure.

All painting - the painting of the past as well as of the present - shows us that its essential plastic means were only line and color.

What is natural does not have to be a representation of something. I'm now working on a thing that is a reconstruction of a starry sky, and yet I'm making it without a given from nature. Someone who says he uses a theme from nature can be right, but also someone who says he uses nothing at all.

I think you too recognize the important relationship between philosophy and art, and it is just this relationship that most painters deny. The great masters do grasp it, unconsciously; but I believe that a painter's conscious spiritual knowledge will have a much greater influence upon his art, and that it would be due only to a weakness in him, or lack of genius, should this spiritual knowledge be harmful to his art.

Observing sea, sky and stars, I sought to indicate their plastic function through a multiplicity of crossing verticals and horizontals. Impressed by the vastness of Nature, I was trying to express its expansion, rest and unity.