Sculptors

"Popularity, even at its most mediocre, delights me.. .I behave nicely with the public, out of the same concern for prudence that makes me generous in cases of epidemics or other collective calamities.. .Beware, I tell myself, because you may be judged at the end of the time, if there is an end of time and a judge.. .Beware of the day when no one ask you for anything anymore, be nice with the cratinization of advertising.. .Any reflection of my existence in others clams my worries about the feeble degree of reality of things, the world and myself. It's from all these eyes, in which I see myself seen, that I take my substance.. ..but where is substance? If it is not in nature it can't be in God.. .In a reality that endlessly disperses before the eye, fades away between our fingers, the only really material matter, the only really substantial substance, would be God."

"When I have at last become like a statue through the exacerbation of my ego which has led me to this ultimate sclerosis.. .Then and only then will I at last be able to set this statue up and come out of myself into the crowd to go and see the world. No one will notice anything because they will all be looking at the statue and I will be able to go about, free at last.. .It's then that I shall realize my eternal dream: to become a newspaper reporter!"

"In the Surrealist period, I wanted to create the iconography of the interior world and the world of the marvelous, of my father Freud. Today, the exterior world and that of physics has transcended the one of psychology. My father today is Dr. Heisenberg."

"[I]f you want to ensure for yourself a prominent place in Society you must [...] give it a violent kick in the right leg."

"Every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí, and I ask myself, wonderstruck, what prodigious thing will he do today, this Salvador Dalí."

"The H-bomb is coming out of my intuitive and inspirationic command, for my spirit speaketh and speaketh psychologically, intuitively, and inspirationally and guides the destinies of the nations of the earth.. .My Assumption is the opposite of the atomic bomb. Instead of disintegration of matter, we have the integration, the reconstitution of the real and glorious body of the Virgin in the heavens."

"In 1951 the two most subversive things that could happen to an ex-surrealist were: firstly, to become a mystic and secondly, to know how to draw. These two models of rigour happened to me at the same time."

"In the first place, in 1950, I had a 'cosmic dream' in which I saw this image in colour and which in my dream represented the 'nucleus of the atom.' This nucleus later took on a metaphysical sense; I considered it 'the very unity of the universe,' the Christ!"

"Myself at the age of six, when I believed I was a little girl, raising with a very great care the skin of the sea in order to observe a dog sleeping in the shadow of the water."

"Bread has always been one of the oldest subjects of fetishism and obsession in my work, the first and the one to which I have remained the most faithful. I painted the same subject 19 years ago 'Basket of Bread, 1929'. By making a very careful comparison of the two pictures, everyone can study all the history of painting right there, from the linear charm of primitivism to stereoscopic hyper-aestheticism."

"Surrealism will at least have served to give experimental proof that total sterility and attempts at automatizations have gone too far and have led to a totalitarian system.. .Today's laziness and the total lack of technique have reached their paroxysm in the psychological signification of the current use of the college [= collage]."

"What is an elegant woman? An elegant woman is a woman who despises you and who has no hair under her arms."

"It ['The Great Masturbator', 1929] represented a large head, yellow like wax, with very red cheeks, long eyelashes and an imposing nose compressed against the ground. This face had no mouth, and in place of the mouth an enormous lobster was hooked. The lobster's belly was decomposing and full of ants. Some of these ants were scurrying through the space that would have been occupied by the non-existent mouth of the great anguished face, whose head ended in 1900-style architecture and ornamentation. The title of the painting was The Great Masturbator."

"In that privileged place, reality and the sublime dimension almost come together. My mystical paradise begins in the plains of the Empordà, is surrounded by the Alberes hills, and reaches plenitude in the bay of Cadaqués. This land is my permanent inspiration. The only place in the world, too, where I feel loved. When I painted that rock that I entitled 'The Great Masturbator', I did nothing more than render homage to one of the promontories of my kingdom, and my painting was a hymn to one of the jewels of my crown."

"From the moment I arrived in Cadaqués [Summer of 1929] I was assailed by a resurgence of my childhood period. The six years of secondary school, the three years in Madrid and the trip I had just made to Paris, all totally faded into the background, while all the fantasies and representations of my childhood period came back to take victorious possession of my mind."

"Having reached the surface [in the Paris' Metro] I remained crazed for a long time, gathering my spirits. I had the impression that I had been vomited by a monstrous anus after being tumultuously brewed by an intestine. I did not know where I was; as though spat out on to unknown land, a pointless little excrement.. .And, a miracle!.. .This shock was a beneficial revelation. One must at every opportunity use the subterranean paths of action and thought, erase the traces, appear suddenly and irrelevantly, endless conquer oneself, never hesitate to sodomize one's soul so that it will be reborn purer and stronger than ever."

"We know today that form is always the product of an inquisitorial process of matter – the specific reaction of matter when subjected to the terrible coercion of space choking it on all sides, pressing and squeezing it out, producing the swellings that burst form it life to the exact limits of the rigorous contours of its own originality of reaction."

"Paranoiac-critical activity is an organizing and productive force of objective chance. Paranoiac-critical activity no longer considers surrealist phenomena and images by themselves but, on the contrary, as a coherent whole of systematic and significant relations."

"It is a question of the systematic and interpretive organization of the sensational, scattered and narcissist surrealist experimental material, - that is to say, of everyday surrealist events:,br>nocturnal pollution, false recollection, dream, diurnal fantasy, the concrete transformation of nocturnal phosphene into a hypnagogic image or of "waking phosphene" into an objective image, - the nutritive caprice, - inter-uterine claims, - anamorphic hysteria, - the voluntary retention of the urine, - the involuntary retention of insomnia - the fortuitous image of exclusively exhibitionist tendency, -the incomplete action, - the frantic manner, - the regional sneeze, the anal wheelbarrow, the minimal mistake, the liliputian malaise, the super-normal physiological state, - the picture one leaves off painting, that which one paints, the territorial ringing of the telephone, "the deranging image", etc., etc., all these things, I say, and a thousand other instantaneous or successive sollicitations, revealing a minimum of irrational intentionalety or, on the contrary, a minimum of suspect phenomenal nullity, are associated, by the mechanisms of paranoiac-critical activity, in an indestructible delirious-interpretive system of political problems, paralytic images, more or less mammiferous questions, playing the role of the obsessing idea."

"It was in 1929 that Salvador Dali [Dali is writing about himself] brought his attention to hear upon the internal mechanism of paranoiac phenomena and envisaged the possibility of an experimental method based on the sudden power of the systematic associations proper to paranoia; this method afterwards became the delirio-critical synthesis which hears the name of "paranoiac-critical activity". Paranoia: delirium of interpretive association bearing a systematic structure. Paranoiac-critical activity: spontaneous method of irrational knowledge based upon the interpretive-critical association of delirious phenomena."

"The essays in simulation of [Paul] Eluard and [Andre] Breton, Breton's recent poem-objects, the latest images of Rene Magritte, the "method" of the latest sculpture of Picasso and the theoretic and pictorial activity of Salvador Dali prove this need of concrete materialisation in current reality, of giving objective value on the real plane to the delirious unknown world of our irrational experiences. Against the remembrance of dreams and the virtual and impossible images of purely receptive states, "that can only be recounted", there are the physical facts of "objective" irrationality, with which one can already actually wound oneself."

"Surrealism in its first period offered specific methods for approaching the images of concrete irrationality. These methods, based on the exclusively passive and receptive role of the surrealist subject, are now [1935] in liquidation and giving place to new surrealist methods of systematic exploration of the irrational."

"Just now I'm painting a beautiful woman, smiling, burnt to a crisp, with feathers of all colors, held up by a small die of burning marble; the die is in turn held up by a little puff of smoke, churned and quite; in the sky there are asses with parrot-heads, grasses and beach sand, all about to explode, all clean, incredible objective.."

"In the degree that the images of concrete irrationality approach phenomenal reality, the corresponding means of expression approach those of the great realist painters - Velasquez and Vermeer of Delft - to paint realistically according to irrational thought, according to the unknown imagination."

"My whole ambition in the pictorial domain is to materialise the images of concrete irrationality with the most imperialist fury of precision. - In order that the world of the imagination and of concrete irrationality may be as objectively evident.. ..as that of the exterior world of phenomenal reality. - The important thing is what one wishes to communicate: the concrete irrational subject. - The means of pictorial expression are placed at the service of this subject."

"The fact that I myself, at the moment of painting, do not understand my own pictures, does not mean that these pictures have no meaning; on the contrary, their meaning is so profound, complex, coherent, and involuntary that it escapes the most simple analysis of logical intuition. To describe my pictures in everyday language, to explain them, it is necessary to submit them to special analyses and preferably with the most ambitiously objective scientific rigour possible. Then all explanation arises a posteriori; once the picture already exists as phenomenon."

"It seems to me perfectly obvious when my enemies, my friends and the public in general pretend not to understand the meaning of the images that arise arid that I transcribe in my pictures, How can you expect then to understand them when I myself, who am their "maker", understand them as little?"

"It is under such cultural circumstances that our contemporaries, systematically cretinised by the mechanicism and the architecture of auto-punition, by psychological bureaucratic congratulations, by ideological disorder and imaginative fasting, by affective paternal hungers of all kinds, seek in vain - to bite into the doting and triumphal sweetness of the plump, atavistic, tender, militarist and territorial hack of some hitlerian nurse, in order at last to be able, no matter how, to communicate with the totemic consecrated host that has just been elevated in front of their own noses and which, as is known and understood, was nothing else than the spiritual and symbolic nourishment that catholicism offered during the centuries to appease the cannibal frenzy of moral and irrational hungers."

"The Italian metaphysical movement [initiated by De Chirico ] started from the spiritual reality, a consequence of the physical miracle and it aspects grouped on an immaterial plane; all this formed a new spectral reality, in order to attain maximal, almost erotic creativity in touch. The Cubists, on the other hand, starting from this sensual-idealistic touch, found a pure, new form of spirituality. Lorca is one of those who have reached this new form of miracle by following the paths of the greatest incredulity. He does not even believe in his own hands, unless it be to turn one-legged physiological and abstract tables."

"Telephone, pedal washbasin, white refrigerators gleaming with Ripolin [French paint], bidet, small phonograph.. ..objects of authentic and pure poetry (MPC p. 11).. ..The Parthenon was not built as a ruin. It was built on a new surface without patina, like our automobiles. / we will not always bear on our shoulders the weight of our father's corpse."

"One might think that through ecstasy we would have access to a world as far from reality as that of the dream. – The repugnant can become desirable, affection cruelty, the ugly beautiful, faults qualities, qualities black miseries."

"One morning with Ripolin [French paint] I painted a new-born that I then left to dry on the tennis-court. After two days I found it bristling with ants that made it move to the anesthetized, silent rhythm of sea-urchins. However I at once realized that this newborn child was none other than the pink breast of my girlfriend, being frenetically eaten by the shining, metallic thickness of the phonograph. But it wasn't her breast either: it was little pieces of my cigarette paper nervously grouped around the magnetic topaz of my fiancees ring."