30. ...I refuse to dilute the representation by spreading them out over a series of canvases, each of which attempts to make only one simple point. I refuse to objectify the representations by simplifying too much, by simplifying to the point where the response required to grasp the representations would be too quick to be reflected upon, to be remarked. To suggest that I do so is to miss the paintings.

These paintings are not games for guessing what some of the details refers to. There are intended relationships between the details which modifies if not determine the meanings of the details. The whole complex of these relationships in each painting cannot be reduced to the individual details, but neither can it exist without them. They are abstract in the sense that they cannot be grasped by the five senses. But then again, reality is not just what an senseless aggregation of sense data.

The complexes represent the rhythms or patterns of reality. They are a function of time. These complexes I call "symbols." The individual details which stand for definable, describable or identifiable aspects of reality I call "signs." These can refer to a class of material or abstract objects, to particular individual objects, or to facts. Signs in the service of symbols I call "indices." They bring the referent of the signs into the symbol's complex net of relationships.

I paint for a researcher, a spectator/reader who is also an author/writer. The paintings are not for immediate consumptions. What is to be consumed exist only through the act of researching, the act of reconstituting the paintings. The paintings are the tools for effecting again a state of mind paralleing the one that motivated the making of these paintings, a state of mind with all the sensoral and intellectual fetter undelected. I want narratives, the symbols, to emerge from dishevelled findings of the researches. Found between lived life and re-presentation, the crossing between the two, the state of mind is the sense that my experience of life will always be a dishevelled physical reality, but from which beautiful narratives always emerges. This state of mind un-re-presented, before being re-presented, which is the precursor of the symbol, is sublime -- i.e. fasinatingly terrifying. To master it through re-presentation, to tam the sublime and translate it into beauty -- for it is beautify when captured withing my compreshention -- is the goal of at least three of the paintings.

I like philosophy to be a verbal system of mis-re-presentation, many systems even; mis-re-presentation so that one can play and construct patterns or narratives with what is (re-)presented.

31. I like art to be the same, save in its broader scope of media of representation. I want art to be something constructive, not always deconstructing, not negation as the final end. Negation should be a means to an end, an end of balancing, of mediation among elements of life; a means toward a rational end.

There will always be internal conflicts in life which arises and disappears as result of what went before -- Geists, individual wills, and Mother Nature. Subordinate philosophy and arts to the goal of dissolving these conflicts. One need not fear that once present conflicts are solved -- if they ever can be solved once and for all -- that the task of philosophy and art will be finished, that there will be an end or death to philosophy or to the arts. One can be sure new conflicts will arise as a result of what one's doing now. A solution to one conflict will not always be a solution to another. Sometimes, often in fact, a solution to a conflict is the seed and generative force of new conflicts. The task of survival is never finished, and as tools of survival, neither will the tasks of philosophy and art ever be finished. My paintings should not be about the history of paintings. That will lead to death. I do not only inherit the tradition of painting, or even of art. Even when I am painting I am never less than the person who inherited much more than one traditions, the art tradition.I inherited other traditions. I also inherited garbage such as the claim of post-modernism that painting is dead; things that rather not deal with. The ideal author function-painter function does not exist pure and abstract. To play the role of a painter, pure and abstract, with references only to the pure and abstract history of art is to become a ghost, a subject appropriated by a Hegelian Geist.