When an artist makes a statement about the work, it is not clear where the work ends and the statement begins, since both

are products of the artist’s temperament, and, as such, one is rarely improved by the other: Rather, it is as if the artist’s intention has doubled back on itself, creating the kind of disturbance only possible when a mind tries to express linguistically what it has already pronounced pictorially. The artist, of course, is free to speak without similar complication about methods and materials, but it is a slight freedom, and scarcely more useful. In any case, a statement may, after all, be false - truth being entirely at the artist’s discretion, and truths in general being only as plentiful as falsehoods, since each falsehood admits of a negation which is true.