There's something Zen-like about the way I work - it's like raking gravel in a Zen Buddhist garden.

I learned you could suffer a terrible tragedy and still be happy again.

What difference does it make whether you're looking at a photograph or looking at a still life in front of you? You still have to look.

It's like a magic well. You think you know everything about [a] photograph, you think you've gotten everything out of it, and all of a sudden I see things in it I'd never seen before.

I think women realise that I love women, and very often women seem to love me.

A face is a road map of someone's life. Without any need to amplify that or draw attention to it, there's a great deal that's communicated about who this person is and what their life experiences have been.

At the same time that I'm finding the color world I want, I'm also trying to make the imagery, you know, by the nature of the strokes themselves.