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.

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.

I make paintings really slowly because I change them and change them and change them and change them and change them. I don't really know how to not do that. I'm not very free in a way. Even though it looks free. But it's not.

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.

It's more this instinct to get in trouble, and then get myself out of trouble. That's what painting is for me.