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

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

Everything that I saw became something to be made, and it had to be exactly as it was, with nothing added. It was a new freedom: there was no longer the need to compose. The subject was there already made, and I could take from everything. It all belonged to me: a glass roof of a factory, with its broken and patched panels, lines on a road map, a corner of a Braque painting, paper fragments in the street. It was all the same: anything goes.

I did not want windows, only skylights. I chose my painting wall as it has the best morning light.

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.

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.

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.