“My purpose is to achieve the totally abstract. I want to communicate only to the extent that the painting will serve to induce or intensify the viewer’s natural desire for contemplation without benefit of a guiding principle. I must therefore free the viewer from the demands or special qualities imposed by the particular by omitting the image (object). This I manage by the use of neutral forms. The uncompromised form by virtue of its power to withhold neither reveals or conceals. Its function is merely to indicate that reality may be sensed by the viewer when released from the insistent demands of substantive quality. The reservoir of total experience may be reflected by the void or anonymous form. With respect to my direct influences I must stress my interest in 15th and 16th century Japanese painters. I have found comfort in some aspects of thought expressed by Malevitch, and I am indebted to Mondrian because his painting strongly indicated that the natural extension of Neo-Plasticism is the totally abstract.” – John McLaughlin, Pasadena: Pasadena Art Museum, 1963, n.p.