Interview with Sabine Schutz (cont)
Q: In 1976 you began to paint abstract pictures, because you wanted something that you cxouldn’t visualize in advance. In doing so, you invented a method that was absolutely new to you. Was that an experiment of some kind?
A: Yes. It began in 1976, with small abstract paintings that allowed me to do what I had never let myself do: put something down at random. And then, of course, I realized that it never can be random. It was all a way of opening a door for me. If I don’t know what’s coming – that is, if I have no hard-and-fast image, as I have with a photographic original- then arbitrary choice and chance pay an important part.
Q: How do you manage to direct chance in such a way that a highly specific picture with a specific statement comes out of it – because that is your stated intention, isn’t it?
A: No, I don’t have a specific picture in my mind’s eye. I want to end up witha picture that I haven’t planned.This method of arbitrary choice, chance, inspiration and destruction may produce a specific type of picture, but it never produces a predetermined picture. Each picture has to evolve out of a painterly or visual logic: it has to emerge as if inevitably. And by not planning the outcome, I hope to achieve the same coherence and objectivity that a random slice of Nature (or a Readymade) always possesses. Of course, this is also a method of bringing in unconscious processes, as far as possible. I just want to get something more interesting out of it than those things that I can think out for myself.
The Daily Practice of Painting – Gerhard Richter
