“It is about cessation which strains into the edge where the conscious and the unconscious meet, where in implacability emerges radiation of the material and the spiritual, which have become One.”
Oto Rimele: Notes (Matter – Material – Matter), January 1991
“It was not the centre that wanted to keep the predominance of the Present moment; instead it opened outwards, towards the point of Contact. (…) The fullness of Time was achieved in the fullness of Emptiness.”
Oto Rimele: Essays (Emptiness of Centre or Fullness of Time), February 1992
“The centre remains unknown (empty) and receives individual projections; it is a place of the kind of subjectivity of the spirit which merges with the Universe.”
Oto Rimele: Essays (Fiction, Simulation and Reality), February 1992
“The appearance of an image is thus only revealed by its shadow.”
Oto Rimele: Illuminations (On Materiality), 2003
”The paintings–objects are constructed in such a way as to generate colour: they are objects of the generation of colour and they are catchers of light. Thus they become creators of shadows.”
Oto Rimele: Illuminations (On Materiality), 2003
“Material is what became matter in the process of creation and was matter before it became material.”
Oto Rimele: Notes (Matter – Material – Matter), January 1991
“The material and the non-material, the visible and the invisible, the present and the absent are carriers of radiation. The composition of an object regulates the quantity and the quality of the radiation of materials within the composition.”
Oto Rimele: Essays (Alchemy in a Painting), February 1992
“The manner of establishing radiation is the relationship between individual energy centres. Together, they form a non-material coat, a kind of radiation drama.”
Oto Rimele: Notes (Matter – Material – Matter), January 1991
“My paintings commenced mostly from the painting; they are a battle with the frontal, a battle with the self-evident pose of the passive view; they are not consenting to the enthronement of the perceiving categories – after all it is about researching a painting that is not dead.”
Oto Rimele: from the catalogue “Oto Rimele: Le jeu”, April 2006
“The perfection of the binary includes the presence of a Third, the invisible that testifies of wholeness.”
Oto Rimele: Essays (Binary or Establishment of the Invisible Third), February 1992
“At the crossroads of matter and idea emerges the Painting, the LAPIS which speaks of the ontological, the ’word and flesh’, the possibility of Co-existence.”
Oto Rimele: Essays (Petits récits / Cypress), February 1992
“The problem of light is in its being so self-evident that we do not see it; it only becomes marked through its shadow.”
Oto Rimele in the interview: Not only the Earth and not only the Sky, 2003
“A work of art is the transforming and the searching of adequate forms of the energy of Knowledge.”
Oto Rimele: Notes (Matter – Material – Matter), January 1991
“The size, the form and the position with regard to the wall speak about the presence of a Painting.”
Oto Rimele: Essays (Alchemy in a Painting), February 1992
“Without establishing and overcoming opposites, our perception of the world is imperfect …”
Oto Rimele: from an interview for Primorske novice, 2006
“I have named the broadened edges also the axiomatic turn, for I want to preserve the painting (…), yet with a turn and with a different reading of axiomatic postulates.”
Oto Rimele: Notes (Circle, Square and Edge), January 1991
“It is therefore necessary to overcome the strain caused by the glittering white light – in order to be able to See.”
Oto Rimele: Illuminations (Uneasiness in White), 2003
“The edge is the encounter between the full and the empty, the past and the future, which point to the Present as the consequence of both.”
Oto Rimele: Notes (Circle, Square and Edge. Broadened Edges), January 1991
“… the meaning of light is revealed by pointing to its shadow.”
Oto Rimele: Illuminations (On Materiality), 2003
“The spirit and the matter need to rise together, in other words – they need to be perceived mutually.”
Oto Rimele: conversation with a fine arts student Nataša Colja
“The state of contact or the form of relation – the ontological question – calls for direct formulation of time and space.”
Oto Rimele: Notes (Circle, Square and Edge. Broadened Edges), January 1991
“Emptiness became full only when it came into the state of decentralisation. It became visible only as a tension which appears as an EIDETIC picture of reality. It found its purpose in the light of vibration or CONTEMPLATION.”
Oto Rimele: Circle, Square and Edge; Emptiness of Centre and Fullness of Time), January 1991
“The fact is that our perception of a painting depends on the ’object which radiates’ and the environment in which we communicate with it.”
Oto Rimele: Notes (Alchemy in a Painting), February 1992
“Light is there to generate shadows … (the paintings) talk in a hidden colour which generates a coloured shadow.”
Oto Rimele in the interview: Not only the Earth and not only the Sky, 2003
“The most chromatic part of the painting is its shadow.”
Oto Rimele in the interview: Not only the Earth and not only the Sky, 2003
“And light is the carrier of the connection, the link, and thus also the Knowledge.”
Oto Rimele: On Watercolour, Emptiness and Light, 2010
“A tree shows the power of the Condition. As a phenomenon, it reaches into the Earth’s matter and connects it to the Sky’s translucence. It is, in fact, the carrier of an idea on the form of Relation, it is the incarnation of EXISTENCE.”
Oto Rimele: Notes (Petits récits / Cypress), February 1992
“When we speak about a square, we mean a circle, and when we speak about a circle, we feel a square.”
Oto Rimele: Notes (Dynamics of the Square), February 1992
“If we strictly follow the view ahead, after the journey around the Earth we eventually return to the starting point.”
Oto Rimele: Objects of an Inward Eye, 1994
