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.

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

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.

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.

I don't labor over my drawings. I want to get freedom in the line.

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.

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