“My interest was to show Richter at work. How he moves, how he applies paint to canvas, his compelling squeegee technique. The purpose of the film was not to reflect the art historical discourse. It’s not that I didn’t have such concerns in mind, but I didn’t want to use the film to interpret the paintings. Books are a better medium for articulating theoretical positions. And the actual act of painting is hard to describe in words—especially the way Richter mixes primary colors on the canvas, generating such a complex system. The way layers are built up and submerged, and how sculptural they appear on canvas. The most important thing for me in this film was to show something uniquely visual.”
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