Nobody bothers to ask whether I might not be more interested in evoking a very colorful world as an anti-image inside people with the help of this element, felt.
So it’s a matter of evoking a lucid world, a clear, a lucid, perhaps even a transcendental, a spiritual world through something which looks quite different, through an anti-image.
Because you can’t create an after-image or an anti-image by doing something which already exists, but only by doing something which is there as an anti-image, always in an anti-image process.
So it isn’t right to say I’m interested in grey. That’s not right. And I’m not interested in dirt either. I’m interested in a process which leads us away beyond those things.
And that’s the connection to vehicles. Later when other things crop up in the discussion, you can think back on particular objects, so that one thing is superimposed upon the next, so that things pass by again in a different constellation…
Then, one of these days, you’re bound to say yes, I’m beginning to understand what’s happening, how the technique was, how the infiltration came about, or the penetration, or the communication, or what the information discloses.
– Joseph Beuys, 1977, Modern Sculpture Reader