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.

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.

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

I believe people have to be open to what's happening when they're alive.

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.

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.