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 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.

Shape and color are my two strong things. And by doing this, drawing plants has always led me into my paintings and my sculptures.

I felt that everything is beautiful, but that which man tries intentionally to make beautiful; that the work of an ordinary bricklayer is more valid than the artwork of all but a very few artists.

In drawing, I don't erase. I believe the original gesture has to be the best.

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.

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