he said this at one point:
“The Spanish Prison, like all of my works, consists of a dialectic between the conscious (straight lines, designed shapes, weighed color, abstract language) and the unconscious (soft lines, obscured shapes…) resolved into a synthesis which differs as a whole from either. The hidden Spanish prisoner must represent the anxieties of modern life, the intense Spanish-Indian color, splendor of any life.”
Harrison notes (in this book i’ve got (i know, a great reference)) the ‘implicit suggestion here that formal and spontaneous procedures are not necessarily irreconcilable’, citing it – i think – as a positive. there’s something in that.