Glossary Author:Vladimír Kokolia Date: 2013-09-27 Size:
We learn to look through the belly. Through the belly we perceive strength. Obversely, we see beauty through the breath.


We learn to look through the belly. Through the belly we perceive strength.

Obversely, we see beauty through the breath.

What to paint

It really is this simple: Let’s paint what we like.

To discover what we truly like, however, is infinitely more complicated.


Besides the fact that a line lies on itself, it additionally has power beyond itself, and can reach to various distances.

Lines must reach each other.

Other side of the barricade

Spontaneity is promoted by the straight-laced, letting loose is championed by the uptight, the rationalists profess intuition, communication is loved by the self-absorbed, creativity is supported by creatures of habit, humbleness is spoken about

by the arrogant, and wonderment is enthused about by the boring and the bored.

But we advocate dryness, routine, tedium and, indeed, even reason.

Second look

At first look, we see the appearance.

At second look, we see the appearance of the appearance.

In other words, the way it looked before the first look.


Through a triangle passes the spirit of a triangle, through a stain the spirit of a stain.


An impediment to seeing the image.


Because we do not know everything that a painting can affect and on what levels, it is safer to err on the “good” side

in its creation.

Lateral direction

A line continues in its own direction.

The adventure, however, should not be anticipated at its endpoint, but rather from the sides.


An ignoramus is the gauge of our work.

We never ignore him, rather we cultivate him, even within ourselves.


A painting not only looks a certain way, but at the same time it also promises,

“advertises”, how it would like to be, should be, could be.

This makes it possible for paintings to judge themselves.


We do not refuse any thoughts or feelings; we just place them on a heap.

In our field, there is no such thing as refuse, or, there is nothing in it but refuse.

The constant of looking

We see a thing no less with closed eyes than we do with open ones.

As long as we look.

Drawing from somewhere to somewhere

If a drawing should also be a story, then we draw it from somewhere to somewhere.


A good artist is able to meet a standard.

Someone then manages to surpass that standard.

It still is not enough – we want for our things to set the standard.

Fog with a hard pencil

To capture uncertain things in an uncertain manner isn’t quite adequate.

It is far more acceptable to capture certain things in an uncertain way.

Inhalation, exhalation

As we inhale (inspiration), we are receptive, the thing comes to us, we succumb to it, we experience wonderment.

As we exhale (expiration), we comprehend the thing, we gather its power and we send it off.

With inhalation we look, with exhalation we draw.


To really capture a line, we must exaggerate it.

It is well known that in order to be exact, we must overstate the state of affairs.

I only note that we exaggerate not just the exuberant curves in their exuberance, but also the less exuberant curves

in their straightness.

Recording of time

In a painting there is a recording of the time which we have devoted to it.

It is recorded automatically; the task is to find a corresponding playing device.

To not teach

Teaching something effectively prevents students from coming to it on their own.

But if it looks as though they won’t come to it on their own, then it is necessary to teach.

Therefore, when teaching occurs, it means that the teacher has become resigned, and that the students have disappointed.

Neutral color

Any color that is, in relation to two colors, the third one.

A painting isn’t flat

Depth is inherent to a painting.

A plane is a special case; to create a truly flat painting is difficult, if not impossible.

Painters are recognizable not by the depth they achieve, but by how precisely they establish planes within it.

An image against a word

The more we comprehend that an image and a word are incompatible, the more we appreciate that at the end of an image

a word is always found, and at the end of a word, an image.

Nothing but the word is seen by us.

Nothing but the image speaks to us.


To draw an outline means to always draw around a thing without touching it.

That isn’t at all a bad thing, of course, as long as we do not wish for the drawing to get to the heart of the matter.


If the art work itself does not reward the artist, then nothing helps if money is received for it.


Let’s not try to be original.

It is enough when we do something that no one can do instead of us.


We listen for what a painting wants from us.

Sometimes it wants us not to listen to it.

Then we have to listen especially well whether or not to listen.


The surface has two sides.

They have a single appearance.

Work on the background

The foreground is noticed by everyone, that’s why it is the foreground.

We, however, notice the background, perhaps even more than the foreground.

In our drawing, however, everyone must first and foremost notice the foreground.


A repeated action enables us to capture things which are unrepeatable.


It is necessary to have a problem.

It must be our problem, the one that has been waiting for us.

If we are lucky, it will be a universal problem, which vaguely senses the hordes upon it.

Should we have a truly great problem, we also can become great painters.

The problem gives us the format.

True, we use the word problem, but it is not necessarily negative – instead of that word we could just as easily say,

for instance, joy.

First line

Before we make the first line on a sheet of paper, there already exist the four lines of the paper’s edges and numerous

lines of force.

Pretending with pretense

There is no difference between pretending with pretense and pretending sincerely. Both are equally sincere.

Crossing the boundaries

Crossing the boundaries of a discipline does not require any audacity when we do not know what those boundaries are.

Direction of a look

A look has a direction.

It goes there or here.

Sense of absence

To notice that we do not notice something enables us to do something that no one else does.

Sides of a line

A line has two sides.

What’s more, it has a front side and a back side.

Middle edge

A line in the middle of a shape, which, after moving our position in relation to the shape 90°, we should see

as an outline.


We don’t want freedom. On the contrary: We want the picture to originate exactly as it had to.

When we are especially lucky, we have no choice.


It isn’t hard to make paintings which take us somewhere else.

What is hard is to make paintings which bring us here.


To orient oneself purely towards visuality is just as short-sighted as, during a meal, to let oneself be driven only by taste

and to disregard nutrition.


We are interested in the origin; the result comes too late.


An expression of strength consumes strength.

Strength is at its greatest just before it is manifested.

Appearance of a painting

We believe that a painting is still something other than its appearance.


We can never be certain if we are desperate enough.

And whether others have not surpassed us in their despair.

In this competition, however, the most desperate are those who are completely unaware of their own despair.

Fortunately, not even we ourselves can sense the true depth of our own despair.

Related Links:

[Editor] 纪晓棠