I prefer winter and fall, when you feel the bone structure of the landscape. Something waits beneath it; the whole story doesn't show.

I prefer winter and fall, when you feel the bone structure of the landscape. Something waits beneath it; the whole story doesn't show.

I have a good friend, Rudolf Serkin, the pianist, a very sensitive man. I was talking to him one day backstage after a concert and I told him that I thought he had played particularly sensitively that day. I said, "You know, many pianists are brilliant, they strike the keys so well, but somehow you are different." "Ah," he said, "I don't think you should ever strike a key. You should pull the keys with your fingers."

At 18 I began painting steadily fulltime and at age 20 had my first New York show at the Macbeth Gallery.

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

It's a moment that I'm after, a fleeting moment, but not a frozen moment.

I search for the realness, the real feeling of a subject, all the texture around it... I always want to see the third dimension of something... I want to come alive with the object.