Jean Dubuffet quotes - page 2
![The painting will not be looked at passively, not embraced all at once by an observer's immediate gaze. But relived in its elaboration, remade by thought and if I dare say reacted... All the gestures made by the painter, he [the observer] feels them reproduced in him. (Jean Dubuffet)](https://cdn.quotesdtb.com/img/quotes_images_webp/83/jean-dubuffet-dare-elaboration-447883.webp)
The technique used heavy, spiky pastes made of nothing other than ordinary oil paint, used thick and mixed with sand and gravel. I some cases – but these were the exception – a few miscellaneous objects were stuck into the wet paint, such as bits of string or little pieces of glass or mirror.
Jean Dubuffet
I have observed that very often I gain access to a little secret that I have sought for a long time by way of a fortuitous encounter quite unrelated to the matter: for example six months I try to draw a camel in a way that satisfies me, and I make a thousand attempts without ever managing to do it. Then one day it is a drawing of a plump on the label of a pot of jam or the shadow thrown by an ink pot, or something or other equally unrelated to the matter that provides me with the solution. This kind of thing has happened so often that I have acquired the habit of always being on the outlook, and when I want to draw a camel I no longer limit myself, as I once did, to looking (only, fh) at camels..
Jean Dubuffet
In all my works.... I have always had recourse to one never-varying method. It consists in making the delineation of the objects represented heavily dependent on a system of necessities which itself looks strange. These necessities are sometimes due to the inappropriate and awkward character of the material used, sometimes to some strange obsessive notion [frequently changed for another]. In a word, it is always a matter of giving the person who is looking at the picture a startling impression that a weird logic has directed the painting of it, a logic to which the delineation of every object is subjected, is even sacrificed, in such a peremptory way that, curiously enough, it forces the most unexpected solutions, and, in spite of the obstacles it creates, brings out the desired figuration.
Jean Dubuffet
.. I have never managed to grasp what exactly 'pataphysics' consisted of; but in short what I have always seen in it is a desire to disconnect philosophy from the discipline of logic, and to admit incoherence as a legitimate component of it. [comment on visiting frequently the Collège de 'Pataphysique'].
Jean Dubuffet
Starting from a drawing, a pure creation of the mind, I expand it in space by giving it three dimensions, by giving it a material body [in polystyrene] and then enlarge it to the proportions of a site where it can evolve. In this way, instead of having only the drawing before you while remaining anchored in the everyday world, you can finally leave the world and penetrate into drawing, and thus inhabit the creation of the mind instead of merely looking at it prudently in a frame on the wall. The experience consists, therefore, in abstracting yourself totally from the natural everyday world in order to feed your eyes solely on your own mental elaborations.
Jean Dubuffet
This character of depersonalization is certainly a constant of all my personages.... The charm of my Portraits enterprise consisted exactly in undergoing a treatment of depersonalization of the effigies of the persons designated. This persistent drive to depersonalize the persons seems to me to precede the paintings (and is more or less conscious in my mind throughout their execution).... [this depersonalisation requires] imagination from the viewer to recognize and complete the portrait.
Jean Dubuffet
The Occidental man is not so bad... Not bad at all, the brave Aryan [inhabitant of the Saraha]... I'm not unhappy to be living with him again.... one need not go outside of Europe in order to find truly "savage" individuals... These savage values to which I attribute more value than all others, appear to show themselves, in our worlds of Europe and America, more forcefully and tempestuously than in all other worlds..
Jean Dubuffet
In portraits you need a lot of general, very little of specific. Usually there is too much specificity, always too much... For a portrait to really work well for me, I need for it to be hardly a portrait. Almost for it to no longer be a portrait. It is then that it begins working at full capacity. I like things carried to the extreme limits of what is possible.
Jean Dubuffet
It pleased me (and I think this predilection is more or less constant in all my paintings) to juxtapose brutally, in these feminine bodies, the extremely general and the extremely particular, the metaphysical and the grotesque trivial. In my view, the one is considerably reinforced by the presence of the other.
Jean Dubuffet
![[children's art] is completely opposed to what interests me, because it's an effort to assimilate culture.. (Jean Dubuffet)](https://cdn.quotesdtb.com/img/quotes_images_webp/38/jean-dubuffet-art-assimilate-478838.webp)
At present [around 1960-1970] I make objects (whether a type-writer, wheelbarrow, bed or fishingboat..) very 'hourloupés' [like his painting: Courre Merlan (Whiting Chase), 1964. What I mean is that I am swimming upstream against the 'l'Hourloupe' current. I am approaching it from the opposite direction: instead of starting out with indeterminate lines that eventually give me a wheelbarrow, I start out with the idea of making a wheelbarrow and then add my indeterminate lines. In effect what I am doing is making the current run simultaneously in both directions at the same time.
Jean Dubuffet
For three years I studied very assiduously an Arabic dialect spoken by the Bedouins of the Sahara, and I began by writing this language phonetically in Latin characters; the very strange appearance of the grammatical forms which resulted from it caused me to see that our spoken language is as remote from written language as this Saharan dialect can be from literary Arabic, and that our language written phonetically by a foreigner in the same way as I wrote the spoken language in El Golea, presented grammatical forms as strange (and as fascinating) as my Arabic jargon. It is then that the idea came to me to try to draft a small text written phonetically. I had the feeling that by becoming.
Jean Dubuffet
For three years I studied very assiduously an Arabic dialect spoken by the Bedouins of the Sahara, and I began by writing this language phonetically in Latin characters; the very strange appearance of the grammatical forms which resulted from it caused me to see that our spoken language is as remote from written language as this Saharan dialect can be from literary Arabic, and that our language written phonetically by a foreigner in the same way as I wrote the spoken language in El Golea, presented grammatical forms as strange (and as fascinating) as my Arabic jargon. It is then that the idea came to me to try to draft a small text written phonetically. I had the feeling that by becoming accustomed to writing (and thinking) in this way, one would be compelled to discover a very interesting species of art, and I am completely passionate about this undertaking.
Jean Dubuffet
