Takeoff

'In the making of smoke drawings the eye is more important than the hand. Bodily involvement is relatively modest compared to, say, the gesture-rich practice of Informel painter. Direct contact of hand-to-paper does not occur. (...) The smoke drawings are without "handwriting". Anonymity of the author is widely sustained. My individual moods do not seek prominence; play a minor role only (except for heightened awareness, i.e., sensibility). I think that my artistic involvement, particularly because of my observing distance to my actions, is at least as strong as with drawing in a commonly accepted sense. It is above all in the observing, in the strategy of directing the means. I would gladly withdraw into the background even further, make my author's individuality felt even less, let the force of light work even more authoritatively - in order to further suspend materiality and thusly gain greater freedom. I hope to reach - with a minimum of physical engagement, far removed from any drama - or space of silence, which - because it makes itself felt intensely - invites us to stay.' (From the exhibition catalogue for Otto Piene, Oelbilder, Rauchzeichnungen, Lichtmodelle, Lichtballett, Galerie Diogenes, Berlin, 20 February-15 March 1960. Cited in Otto Piene, by A. Glibota, Villorba 2011, p. 106.)