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

It's hard to say that my twenties were the most miserable time in my life or that my first wife drove me crazy or that I hated the job that I had. You can say all of those things. But for the most part, people manage to have a good time when they're that age.

When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.

Architecture can't fully represent the chaos and turmoil that are part of the human personality, but you need to put some of that turmoil into the architecture, or it isn't real.

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.

No art is any good unless you can feel how it's put together. By and large it's the eye, the hand and if it's any good, you feel the body. Most of the best stuff seems to be a complete gesture, the totality of the artist's body; you can really lean on it.

Once I really started to understand Frank Stella's work and follow it, there's a certain type of invention and playfulness and extreme rigor with which he kept going forward.