At this point, I began to recognize the difference between imagery and physicality, that everything had both an imagery and a physicality, and furthermore that for me, the moment a painting took on any kind of image, the minute I could recognize it as having any relationship to nature, of any kind, to me the painting went flat. Imagery constituted representation, 're-presentation', whereas I was after a first order of presence.
Phrased simply, the moment a painting read as an image of something (a swan, a cloud, a cow jumping over the moon), it no longer presented itself purely as an energy field in its own right. It behaves like a psychologist's ink blot in a Rorschach test, summoning all manner of projected associations. And this Rorschach effect knocks down the physicality of its presence.