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.

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.

A lot of what I do in my work is taking a thing and either washing it off, scraping it, covering it, scraping it and then washing it, turning it upside down. Making it somehow blind.

The works have to look like they're confident. But they also have to look sort of troubled. It's this weird thing: "Does that look confident and troubled?" It's a bit like difficult poetry.

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.

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.