What most paintings do is give you a path for your eye to move around. The painting actually tells your eye, go here, now go here, now go here, go here. So all you have to do is look at it, give it a few seconds, and your eye will start to move through the painting.

The pictures present an improvised view of life as normal. Life is shown as we think we see it but in fact never do. The pictures imitate life to find a way out.

Why should it be difficult for someone to claim their personal reaction, especially in this time where we are only too happy to share our personal reactions about everything, no matter how trivial. Maybe the answer is conditioning. This is pure conjecture, but I think people go to museums to participate.

If you go to a concert, you will notice, is it loud? Is the music fast? Is it predominately strings or brass? There are things we can all register, whether we are musicians or not. Painting's no different. Taking pleasure in projecting oneself into the painting is the act of looking. That's what looking is.

People tend to remember and mentally classify work according to how it looks, sometimes oblivious to the underlying intent.

Ever since I started painting, I have tried to get the fluidity and surprise of image connection, the simultaneity of film montage, into painting.

Spend a day talking only in rhyme.