Meaning: Kenneth Noland, a prominent American abstract painter, made this statement, "Because of this the representation I'm interested in is of those things only the eye can touch." This quote encapsulates Noland's artistic philosophy and provides insight into his approach to visual representation and perception in his artwork.

Noland was associated with the Color Field painting movement, which emerged in the 1950s and 1960s as a response to the gestural and emotive qualities of Abstract Expressionism. Color Field painters sought to explore the expressive potential of color and form in a more reductive and simplified manner. Noland's statement reflects his focus on creating visual experiences that engage the viewer's sense of sight and perception, emphasizing the direct and immediate impact of visual elements in his work.

In his pursuit of creating art that resonates with the viewer's visual experience, Noland often employed geometric shapes, particularly concentric circles and stripes, as central motifs in his paintings. These forms, rendered in vibrant and contrasting colors, were intended to captivate the viewer's gaze and evoke optical sensations. By emphasizing the visual and perceptual aspects of his work, Noland aimed to transcend the physical limitations of the canvas and invite the viewer to engage with the purely visual elements of his art.

Noland's interest in "those things only the eye can touch" underscores his belief in the capacity of visual art to communicate directly with the viewer, bypassing linguistic or conceptual barriers. This emphasis on the visual experience aligns with the broader aims of Color Field painting, which sought to create immersive and contemplative visual environments through the use of color, shape, and scale. Noland's statement suggests a desire to foreground the inherently sensory nature of visual perception and to foreground the act of seeing as a primary mode of engagement with his artwork.

Furthermore, Noland's statement can be interpreted as a rejection of traditional representational art, which aims to depict tangible objects or scenes from the physical world. Instead, he directs attention to the intangible and subjective qualities of visual perception, challenging viewers to consider the ways in which visual stimuli can elicit emotional and perceptual responses. In doing so, Noland's approach aligns with broader developments in 20th-century art that sought to expand the boundaries of artistic expression beyond mimesis and representation.

Noland's quote also invites contemplation of the relationship between the act of looking and the act of touching. While touch is traditionally associated with tactile and physical sensation, Noland's assertion that the eye can "touch" certain things opens up a discussion about the haptic qualities of visual experience. By using the term "touch" metaphorically in the context of visual perception, Noland draws attention to the immersive and tactile nature of looking at art, suggesting that the act of seeing can encompass a range of sensory and embodied experiences.

In conclusion, Kenneth Noland's quote encapsulates his commitment to creating art that engages the viewer's visual perception and emphasizes the immediate impact of visual elements. By foregrounding the sensory and haptic qualities of visual experience, Noland invites viewers to engage with his work on a purely visual level, transcending the constraints of language and representation. His statement reflects the broader aims of Color Field painting and contributes to a deeper understanding of the ways in which visual art can communicate and resonate with viewers.