Making art has first of all to do with honesty. My first lesson was to see objectively, to erase all meaning of the thing seen. Then only could the real meaning of it be understood and felt.

The form of my painting is the content. My work is made of single or multiple panels: rectangle, curved, or square. I am less interested in marks on the panels than the 'presence' of the panels themselves. In Red Yellow Blue III the square panels present color. It was made to exist forever in the present; it is an idea and can be repeated anytime in the future.

A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.

I think that if you can turn off the mind and look only with the eyes, ultimately everything becomes abstract.

The most pleasurable thing in the world, for me, is to see something and then translate how I see it.

Photography isolates the world via an aperture and gives the photographer the means to see differently, to achieve a spontaneous vision that is direct and uncompromising.

I have worked to free shape from its ground, and then to work the shape so that it has a definite relationship to the space around it; so that it has a clarity and a measure within itself of its parts (angles, curves, edges and mass); and so that, with color and tonality, the shape finds its own space and always demands its freedom and separateness.