...The sea is white three quarters of the time, just white — early morning. Only in the fall does it get blue, because the haze is gone. The Mediterranean, at least — the Atlantic is brown — is always just white, white, white. And then, even when the sun comes up, it becomes a lighter white. Only in the fall is the Mediterranean this beautiful blue colour, as in Greece. Not because I paint it white; I'd have painted it white even if it wasn't, but I'm always happy that I might have. It's something that has other consciousness behind it. *
The reality of whiteness may exist in the duality of sensation (as the multiple anxiety of desire and fear).
Whiteness can be the classic state of the intellect, or a neo-romantic area of remembrance — or as the symbolic whiteness of Mallarmé.
The exact implication may never be analyzed, but in that it persists as the landscape of my actions, it must imply more than selection. #
* Interview with David Sylvester (June 2000) in David Sylvester, Interviews with American Artists (New Haven & London: Yale, 2001), p. 175.
# "Documenti di una nouva figurazione: Toti Scialoja, Gastone Novelli, Pierre Alechinsky, Achille Perilli, Cy Twombly," L'Esperienza moderna (August Ð September 1957), p. 32; reprinted and translated in Kirk Varnedoe, Cy Twombly: A Retrospective (New York: The Museum of Modern Art, 1994), p. 27.