Per Kirkeby Quotes

11 Sourced Quotes

Landscapes are about beauty and death. The only way you can define beauty.... is to know that death is hiding behind it. This is what haunts you when you're doing a so-called landscape painting. -

Per Kirkeby
What I am after is 'bravura, an attempt to do something beyond the truth'... I do not seek truth before bravura, I seek it on the other side. Naturally it is a basic risk to run, the internal insecurity, where nothing is measurable, no solid standard exists any longer, and one can hardly discern the difference between commercial bravura and true trapdoor, but it is the only way of escaping good taste and narrow certification. The light of ambivalence is a heavenly one.

Per Kirkeby
It doesn't care too much if it's from the 60's or from last year - it's kind of the same thing [in his paintings].... apparently there are certain structures, certain ways of organizing a painting that's there, that I'm born with as a painter.

Per Kirkeby
Thus it is with all pictures, there are many layers, and with good reason an analysis nearly always deals with the last [layer]. The last layer in a superficial sense. But how then can one talk of what one cannot see, the overpainted or wiped-off layers, how to go about for example, photographs that are like slates with layers which no longer exist. The answer is that they exists nevertheless, taken up into the visible layer by a rubbing-off, but the problem, on the whole, is how one deals with the visible layer. The angle-sure, viewpoint seeking and in the worse sense 'analytic' intercourse with the picture.

Per Kirkeby
I believe that painting, in our meaning, is structures. Each application of paint to a surface is structure. This is, of course, self-evident, but a superstructure of meaning can occur. One can have various motives for doing it. And here that difficult motif comes in. I believe that a ruthless accumulation of structure reworkings leads to one meeting one's motif. One's life-motif, so to speak. That which one has and does not know that one has it. A sort of geology, as when, in a constant process, sedimentation and erosion makes the earth we live on like it is now, without any meaning in itself in a rational sense, but accepted as that upon which we live in this life..

Per Kirkeby
.. I also got to meet George Maciunas, the father of Fluxus. I wanted to know what this Fluxus was, so I asked him, 'If I put salt in a tea bag and then into hot water, then the salt will dissolve, and when you pull the bag up, there is nothing in it. Is that Fluxus?' 'Let's make that one right away,' Maciunas replied. And it became a Fluxus object. I told him that I was a painter and that I would keep painting. 'Well,' he said, 'that doesn't matter, as long as you do it the right way.' Getting to know him, I understood that the right way was with a certain sense of justice.

Per Kirkeby
A structure-less painting is, to me, a painting that does not matter. Structure mirrors your degree of responsibility toward the work. You can't just let it float around in pretty colors. It needs a kind of core. But this is an inner structure. It does correspond to being a geologist — the metaphor may be trite, but it works. Like when you see these breathtaking mountains in strange colors in eastern Greenland. As a geologist, you want to know what exactly they're doing.

Per Kirkeby
At my age [74], you realize that some things have caught you. You can see that as a positive or a negative. On the negative side: Are you in a routine, unconsciously adapting to things that work well?.... The black Masonite [board, Kirkeby used to underlayment for his painting].... by not painting them black and instead making them beautiful, I've wondered if I have sold that particular idea. Edvard Munch, as he got older, sat at his home and painted like a wild man. Those works were not very popular and have come to be considered the 'wrong' Munch. But that's how you need to be when you get old. I call it the arrogance of age: You don't need recognition. You just don't care.

Per Kirkeby
This method does not call up the invisible layers. The invocatory tone of intercourse is the 'synthetic', which does not seek results immediately but treats the picture sensually and then allows the apparently most unreasonable associations to grow. In this way invisible layers in oneself are invoked, and this is the only kind of invisible layer in the picture which allows itself to be invoked. This is 'unscientific' and apparently uncontrollable and subjective. But the subjective is to a large extent the common; the invisible, subterranean layers are fertile soil for the great common pictures.

Per Kirkeby
To achieve the structure it takes a damn long time, so my paintings are always in work for a very long time—sometimes a year. Not that I work on them every day. I will have them, and then come back to them after a year, and also return intermittently. It's not easily done. I am not able to do one, two, a painting. I try to do it very quickly, but it doesn't work with me. I simply can't do it. Very often people look and say, 'Ah, fantastic! That's a beautiful painting.' But the moment they are out the door I start working on it. I rework it.

Per Kirkeby
But through the 1990's I developed signatures, somewhat radical and unmistakably mine. Francis Picabia remains my hero. The more you dive into his work, the wilder it becomes. He painted the skewed Cubist paintings that we all know. Then came the kitsch works. And he ended up doing these strange, abstract works that are impossible to grasp. Whenever you think you've got him, he's always moved along. That's what I aspire to do.

Per Kirkeby