NK: I think it’s a universal Western truth that we have a real problem thinking any lower than our head into how we feel about things. I think when we are always trying to make our brain do the work and separate a picture into why I like it or why I don’t and what are the reasons for it, it’s often as simple as that it touches me in an emotional place, in a place inside me that responds to this for whatever reason. Maybe the way I was brought up, maybe the way my parents were brought up. Who knows how far these things go? We all have a problem in knowing that.
Good art works on that level very, very well. Think of Rothko as an excellent example. There’s almost no information on the canvas, and people can sit in front of them for hours, with very, very strong feelings. So composition in itself and weight of composition and colour can give you very strong connections to you and your past. I think that probably explains it.