All my work begins with drawings. I don’t labor over my drawings. I want to get freedom in the line. I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.

My forms are geometric, but they don't interact in a geometric sense. They're just forms that exist everywhere, even if you don't see them.

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.

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.

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.

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

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.