Wassily Kandinsky altera, criando, novos signos através da obra de arte. Pretende que o objecto consiga ser subtraído, essa rigidez do signo, para que o abstracto, o interior ganhe voz. Através da novidade, as formas de representação quebram a asfixia presente na obediência às formas de linguagem, aos sinais anteriormente estabelecidos. Recuando à aproximação da génese ontológica dessa linguagem, o que se propõe escutar é então a parole, o discurso interior.
In the end, I came to experience consciously my earlier feelings of freedom, and thus the merely incidental demands I made of art gradually disappeared. They vanished in favor of one single demand: the demand of inner life of art.
I carried this picture around in my mind for a year and a half, and often thought I would not be able to finish it. My starting point was the Deluge.
In a number of sketches I dissolved the corporeal forms; in others I sought to achieve the impression by purely abstract means. But it didn't work. This happened because I was still obedient to the expression of the Deluge, instead of heeding the expression of the word "Deluge". I was ruled not by the inner sound, rather by the external impression.
Wassily Kandinsky, Reminiscences/Three Pictures ["Rückblicke", "Komposition 4", "Komposition 6"; "Bild mit weissem Rand"]. Berlin 1913.