"To claim to imitate nature is first vulgar and second sacrilegious; but most of all it has to attempt the impossible. Painting for the pleasure of dribbling a many-hued temperament all over a piece of canvas is utterly repulsive, To my mind, painting means pressing form and color directly into the service of a freely constructive thought, it means making geometry sing, abstracting the abstract from its own abstraction, it is synthetic transference of the dynamism of volume into its relativist re-absorption."
– Rene Dumal
"A Night of Serious Drinking" (La Grande Beverie)
Abstracting the abstract from its own abstraction—this seems like quite a feat, yet is and real and open opportunity at every applied stroke. Each consideration of pigment application, is one that is both pure chance, and extreme determination. Why does that shape reside there? What drove you to place that line there? Why would you take perfectly good composition and then paint it completely over? These are the doubts that can plague one at the easel, deep in the formation of a piece, unsure where to go next, but very much knowing that the next step must be taken. Anything is possible, and yet that is what is so terrifying.