You have to be a little scared of what you're doing. Otherwise, you just paint the same masterpiece a little worse.

You usually want to get something out of a painting other than the ideas that you had in your head.

I know people can be a little nervous about swimsuits, but have some fun with it. Believe you can hold it down. If you believe you can hold it down, you can wear it.

Picasso and Matisse were the guys I wanted to get away from, and cubism is all still lifes. Their paintings are all closed drawings. And still life is a perfect form for that. By the mid-'50s, I sort of dropped the still life. The large picture was a way of getting around them, too. The abstract expressionists were also into the large form because it was a way of getting around Matisse and Picasso. Picasso can't paint big paintings. Matisse didn't bother after a certain point.

What's in front of me is what's most interesting.

You have to find what your temperament is like and live around it. I find I work really well off the top of my head because you get the unconscious into it. Otherwise, it's just an idea. And I'm not so hot there.

The abstract expressionists had that thing of, subject matter becomes content, content becomes form. And I always thought there was no room for style. I felt with my painting, the style really is the content. The style holds everything together.