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.

Realist painting has to do with leaving out a lot of detail. I think my painting can be a little shocking in all that it leaves out. But what happens is that the mind fills in what's missing . . . Painting is a way of making you see what I saw.

Sometimes it takes me days or weeks to get something clear in my head on what I want to do. Everything is in steps. One thing leads to another.

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.

My mother thought I would have a hard life as a painter. My father thought the highest thing a person could be was an architect. Below that was a painter. So he thought it was much better than being, say, a doctor.

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

What makes everything one is the style.