found: R.H. Quaytman
"Op paintings work well to activate other paintings, like little engines. And they make you move. Dave Hickey wrote that they propel you through the room, and I thought that was so true. I am also interested in the sheer electricity of them because they are like television screens or monitors. They emit something like light." - Quaytman at Museo
"In Rome I began to make sentences of paintings—groups of panels that belonged together. And then, one day, I had an epiphany: “The stance of the painting is the profile.” It was like a riddle; I wasn’t sure what it meant, but I knew it was important. It seemed to refer to the viewer’s movement past a painting. I began to think of paintings as objects that you passed by—as things that you saw not just head-on and isolated, but from the side, with your peripheral vision, and in the context of other paintings."
"I tend to work on one or two small caption paintings as I begin a new chapter. Painting them helps me think less analytically, and including them in exhibitions punctuates the other paintings the way a comma or period might punctuate a sentence. The arrows set up a contradiction, moving viewers along and drawing them in at the same time."
"The pattern I used for the Op-like paintings is called a scintillating grid, which was invented to show the blind spot at the center of visual perception. When you focus on it, your peripheral vision goes haywire. Diamond dust introduces a different kind of optical experience. Unlike an Op pattern, which both blinds and repels vision, diamond dust blinds and attracts vision. And the combination of the two can create an interesting tension."
"I wanted to create a sense of light that seemed colorless. I discovered that the RGB color model used for TV and computer screens—today’s windows onto other spaces—could be used to make paintings that would read from afar as light, or as a glowing grayness. When you approach these paintings, or look at them obliquely, their colorlessness shifts to red, green or blue, depending on your angle and the light in the room."
"I find it helpful to think about painting as if it were poetry, and to focus on a given painting’s grammar and syntax, even on its vocabulary. In reading a poem, you notice particular words, and how each is not just that one word, but contains other words as well. The same is true for a painting."
"I’ve always found it helpful to take other media and transpose their forms and ideas to painting. Early on, when I was feeling kind of lost as a painter, I’d read about other kinds of art-making—sculpture, video or conceptual art—and almost unconsciously twist the thinking around to make it be about painting."
"My rules are inventions—and they continue to generate new possibilities."
-Quaytman at Art in America.