One moment of our 1993 conversation made this especially clear, one during which we both looked at the textured surface of Blue Poles: Number 11, 1952, a painting by Jackson Pollock full of patches, slashes, lines, drippings, and blobs, with barely a hint of blue. “I don’t understand this,” I said. “Yes you do,” Lynch said. “Your eyes are moving.” They must have been, but I had not paid any attention. I had automatically experienced a lack of meaning because I could not stand at the prescribed, controlling viewing distance and read the painting as a rationally controlled system of shapes. Lynch had spontaneously identified the painting as a meaningful representation for me because it had released my moving eye from conventional viewer expectations. I saw that I could not contain the painting in some theoretical framework; he saw me performing with the painting. He saw as crucial that part of me that my education had taught me is inconsequential to my grasp of meaning.
—from The Passion of David Lynch by Martha P. Nochimson