If, then, in its
broad definition, abstraction serves to reveal the unseen, for both DeFeo and Grotjahn, it perversely serves as a material diary of intense meditations whose specific revelations remain as impenetrable as their characteristically opaque
surface marks.
Painting will no longer create space as a theatre; it will give space itself a theatre.5 The paint will meet the
surface sensuously, In a
broad, flat engagement of the palm, by fingertip daubs, and through varieties of clawing and caressing.6 Painting will always tremble, but very precisely.7 There will be no difference in the world between planning airily away from the canvas and actually taking your brush and making the first
mark.8 The revolution will be painted.