I want to expand the question of when something is done. I want to vex the ending. I want to mess around with that. I like the idea that if you make a work that has no clear ending, then you must play with the ending. Because if you don't, you're not highlighting the weird, lovely openness of abstraction.

At some point, I get a weird feeling, and that's when I know it's done. I probably ruin a lot of really perfectly fine things. So part of working on paper, and trying to work really fast, is to see if I can expand the area of not being driven by taste. Not saying, "This looks good, I'll stop."

I've never read a book on shape. I've read books on gesture; I've read tons of books on color, surface, field, ground, representation, abstraction. But I've never read a book on what a shape is.

All accidents and experiments, and discoveries, are what my work is about. The problem that I have as an artist is being way too critical.

In my work, we're not looking at an icon, we're not looking at a sign, we're not looking at a representation. We're looking at something. I do have this feeling of trust that people can read it for themselves.

That’s the huge problem with an abstract painting. When are you done? You’re done when you don’t want to do it anymore.

Every painting I've ever done has like 100 paintings under it.