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.

Shading is more like copying. And certainly I do copy, but I'm making drawings, and I'm not trying to make them with the shading.

All my paintings are usually done in drawing form, very small. I make notations in drawings first, and then I make a collage for color. But drawing is always my notation.

The negative is just as important as the positive.

The paintings to me are always canvas, sculpture has always been metal, though I have made sculpture in wood also.

Geometry is moribund. I want a lilt and joy to art.

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.