Sometimes I really want to paint somebody and I don't get a photograph that I want to work from.

All the best ideas come out of the process; they come out of the work itself.

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.

All the fingerprint paintings are done without a grid.

I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.

There are things about signing on to a process over the long term that protect you from the buffeting winds of change.

Once I started working with the Polaroid, I would take a shot and if that shot was good, then I'd move the model and change the lighting or whatever... slowly sneaking up on what I wanted rather than having to predetermine what it was.