I don't really have studios. I wander around - around people's attics, out in fields, in cellars, anyplace I find that invites me.

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'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.

To have all your life's work and to have them along the wall, it's like walking in with no clothes on. It's terrible.

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

I don't think that there is anything that is really magical unless it has a terrifying quality.

I love to study the many things that grow below the corn stalks and bring them back to the studio to study the color. If one could only catch that true color of nature - the very thought of it drives me mad.