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

I have a great deal of difficulty recognizing faces, especially if I haven't - if I've just met somebody, it's hopeless.

You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.

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.

You don't have to reinvent the wheel every day. Today you will do what you did yesterday, and tomorrow you will do what you did today. Eventually you will get somewhere.

I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.

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.