ings ▁convey ed ▁his ▁dream s ▁and ▁sub cons cious , ▁and ▁he ▁often ▁spoke ▁of ▁painting ▁freely ▁without ▁truly ▁being ▁in ▁control ; ▁rather , ▁letting ▁the ▁free - flow ing ▁thoughts ▁and ▁sh ifts ▁of ▁his ▁mind ▁move ▁the ▁br ush ▁across ▁the ▁canvas , ▁a ▁technique ▁referred ▁to ▁as ▁“ ps ych ic ▁automat ism ”. ▁ ▁Ble u ▁II ▁exempl ifies ▁his ▁distinct ▁style ; ▁the ▁artist ▁uses ▁sparse , ▁uniform ▁br ush st ro kes ▁all ▁across ▁the ▁canvas , ▁giving ▁the ▁enorm ous ▁exp anse ▁of ▁the ▁painting ▁an ▁even ▁more ▁empty ▁feeling , ▁which ▁is ▁emphas ized ▁even ▁further ▁by ▁the ▁distinguish able ▁dream y ▁blue ▁of ▁the ▁background . ▁▁ ▁Ble u ▁II ▁is ▁probably ▁the ▁painting ▁in ▁Mir ó ’ s ▁port folio ▁that ▁most ▁definit ively ▁express es ▁his ▁ob session ▁with ▁dream sc apes ▁and ▁vac ant , ▁infinite ▁space . ▁ ▁In ▁ 1 9 5 8 , ▁during ▁which ▁he ▁was ▁working ▁on ▁the ▁Ble u ▁I , ▁II , ▁III ▁tri pty ch ▁and ▁similar ▁abstract ▁mur als ▁in ▁Paris , ▁he ▁was ▁quoted ▁saying : ▁ ▁“ The ▁spect acle ▁of ▁the ▁sky ▁over wh el ms ▁me . ▁ ▁I ’ m ▁over wh el med ▁when ▁I ▁see , ▁in ▁an ▁immense ▁sky , ▁the ▁cres cent ▁of ▁the ▁moon , ▁or ▁the ▁sun . ▁ ▁There , ▁in ▁my ▁pictures , ▁tiny ▁forms ▁in ▁huge , ▁empty ▁spaces . ▁ ▁Em pty ▁spaces , ▁empty