I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figurative or abstract, seem to me like prison windows in which the lines, precisely are the bars.
Interpretation
Yves Klein criticizes traditional artistic boundaries and believes they confine creativity.
In this quote, Yves Klein expresses his disdain for conventional artistic elements such as lines and forms, which he perceives as limitations on true artistic expression. He likens traditional paintings to 'prison windows,' highlighting that these elements restrict the creative flow and confine the artist's vision, suggesting a desire for a more liberated form of artistic expression beyond linear constraints.
In practice
This quote can be used in an art class to provoke discussion about the limitations of traditional art forms.
Blue has no dimensions, it is beyond dimensions, whereas the other colours are not....All colours arouse specific associative ideas, psychologically material or tangible, while blue suggests at most the sea and sky, and they, after all, are in actual, visible nature what is most abstract.
Color is sensibility in material form, matter in its primordial state.
The dominant invades the entire picture, as it were. In this way I seek to individualize the color, because I have come to believe that there is a living world of each color and I express these worlds.
My monochrome pictures are not my definite works, but the preparation for my works. They are the leftovers from the creative processes, the ashes. My pictures, after all, are only the title-deeds to my property which I have to produce when I am asked to prove that I am a proprietor.
For me, each nuance of a color is in some way an individual, a being who is from the same race as the base color, but who definitely possesses a distinct character and personal soul.
The artist is not a man who describes, but a man who feels.
Music is a science which should have definite rules; these rules should be drawn from an evident principle; and this principle cannot really be known to us without the aid of mathematics.
I have a very healthy relationship to my work, and I find that if a scene is working, no matter how intense it is, you have the catharsis on screen, and you can let it go. I think it's, if at the end of the day you feel like you haven't cracked it, that's when you go home and it's more difficult to switch off.
Gently touching with the charm of poetry.
As an actor, there's a bit of you that's decided you want to be looked at and watched, but there's a paradoxical bit that wants to run away.
I'd say almost that words come first, melody second.
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