"Whatever I know how to do, I've already done. Therefore I must always do what I do not know how to do"
About this Quote
The line reads like an artist’s manifesto disguised as a simple piece of self-management. Chillida isn’t posturing about ignorance; he’s weaponizing it. “Whatever I know how to do” names the seductive trap of mastery: the point where technique starts producing reliable results, and reliability quietly becomes repetition. In sculpture, repetition isn’t just aesthetic sameness; it’s a kind of spiritual complacency, the studio turning into a factory for your own signature.
The pivot word is “therefore.” Chillida makes risk sound logical, even obligatory. That’s the intent: to frame experimentation not as a romantic detour but as the only ethical next step once competence arrives. Subtextually, he’s rejecting the marketplace’s favorite narrative of the artist: find a style, monetize it, become legible. His argument is that legibility can be a cage.
The quote also smuggles in a practical truth about making things in heavy materials: you often don’t “know how” until the work forces knowledge out of you. Chillida, known for monumental iron and stone forms that negotiate weight, void, and tension, understood that the real subject is not control but conversation with resistance. Material pushes back; gravity edits your ideas.
Context matters: postwar European modernism prized formal rigor, but also demanded reinvention after catastrophe. Chillida’s statement aligns with that era’s suspicion of comfort. It’s not motivational fluff; it’s a hard rule for staying alive inside your own talent.
The pivot word is “therefore.” Chillida makes risk sound logical, even obligatory. That’s the intent: to frame experimentation not as a romantic detour but as the only ethical next step once competence arrives. Subtextually, he’s rejecting the marketplace’s favorite narrative of the artist: find a style, monetize it, become legible. His argument is that legibility can be a cage.
The quote also smuggles in a practical truth about making things in heavy materials: you often don’t “know how” until the work forces knowledge out of you. Chillida, known for monumental iron and stone forms that negotiate weight, void, and tension, understood that the real subject is not control but conversation with resistance. Material pushes back; gravity edits your ideas.
Context matters: postwar European modernism prized formal rigor, but also demanded reinvention after catastrophe. Chillida’s statement aligns with that era’s suspicion of comfort. It’s not motivational fluff; it’s a hard rule for staying alive inside your own talent.
Quote Details
| Topic | Self-Improvement |
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