I don't want pictures, I want to find things out.

I wish to approach truth as closely as is possible, and therefore I abstract everything until I arrive at the fundamental quality of objects.

Vertical and horizontal lines are the expression of two opposing forces; they exist everywhere and dominate everything; their reciprocal action constitutes 'life'. I recognized that the equilibrium of any particular aspect of nature rests on the equivalence of its opposites.

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.

The surface of things gives enjoyment, their interiority gives life.

The essence of painting has actually always been to make it [the universal] plastically perceptible through colour and line.

Recognizing and uniting with the universal therefore gives us the greatest aesthetic satisfaction, the greatest emotion of beauty. The more determinately (consciously) this recognition is experienced, the more intense our happiness. The more determinately (consciously) this union with the universal is felt, the more individual subjectivity declines.