I think you have to use your eyes as well as your emotion, and one without the other just doesn't work

It's all in how you arrange the thing... the careful balance of the design is the motion.

I do an awful lot of thinking and dreaming about things in the past and the future - the timelessness of the rocks and the hills - all the people who have existed there.

I surrender to the world of my imagination, reenacting all those wonderful tales my father would read aloud to me. I became a very active reader, especially history and Shakespeare.

If it [talent] isn’t strong enough to take the gaff of real training, then it’s not worth much.

I'm not at all interested in painting the object just as it is in nature. Certainly I'm much more interested in the mood of a thing than the truth of a thing.

I think you have to use your eyes as well as your emotion, and one without the other just doesn't work