I'm more of a house painter.That's the way I work.

All I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion…What you see is what you see.

You couldn't forget Pablo Picasso, Henri Matisse and Joan Miro either. And it had to be, you know, at least as good or better.

One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.

I want to make exalted art. A successful image has pictorial lift. I am looking for whatever is up there

I think for a lot of artists, if you're lucky enough to have a kind of career, especially toward the end, you start to think about what the whole ensemble looks like. It's the whole that counts. The parts are given, but you don't know how the whole thing's going to look when it's all put together.

You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.