I presume <current painting> must be looked at for what the Orientals would admire - the original energies. This is so much admired in calligraphy. (1957)

I remember when I saw a water spider and it brought down a bubble of air and placed it over its nest - a magical and fantastic thing.

Oriental fragments - charakters which twist and turn drifting into Western zones forever speaking of the unity of man’s spirit. (Concerning Extensions from Bagdad)

I really could touch space [...] it became a kind of living thing [...] like a sixth sense.

Three-dimensional space consciousness is a real type of consciousness to me; but if you got in a fourth-dimensional space consciousness it would be something quite different, and then I don’t think you would have the time sense between spaces.

[...] the dematerialization of form by space penetration. [...] I made lines into mass [...] I want vibration in it so that’s why it takes so long to build this up; because I want it to have air pockets. [...] Before I get to the actual painting I have to build up mass of line.

I cover my surface completely and I put my plastic elements into motion up to the four corners. Everything stirs, everything moves, everything becomes animated.

That type of painting in which you are not allowed to rest on anything: you’re bounced off it or you have to keep moving with it. (Concerning Drift of Summer, 1942)

Multiple space bounded by involved white lines symbolizes higher states of consciousness.