When you come up in the art world, whatevers in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.

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

A photograph doesn't gain weight or lose weight, or change from being happy to being sad. It's frozen. You can use it, then recycle it.

I'm plagued with indecision in my life. I can't figure out what to order in a restaurant.

I don't work with inspiration. Inspiration is for amateurs. I just get to work.

The camera is objective. When it records a face it can't make any hierarchical decisions about a nose being more important than a cheek. The camera is not aware of what it is looking at. It just gets it all down.

It doesn't upset artists to find out that artists used lenses or mirrors or other aids, but it certainly does upset the art historians.