As far as my work is concerned, I felt at that time [1970's] the need to start from the 'nadir' (nothingness); not a zero, but I had to go back to my roots and finally reacquire and make my own many approaches that I had once vaguely internalized, through Surrealism, in my early years. Many of the techniques that validate the anarchic impulses of the imagination and the subconscious became important again, for example, the conscious inclusion of chance, of failure and of error.

In 1983. In: 'Tapies, or the Materiality of Painting', by Klaus Dirscherl; as quoted in Materialities of Communication, ed. Hans Ulrich Gumbrecht, Karl Ludwig Pfeiffer, Stanford University Press, 1988, p. 192