I've explored a variety of directions and themes over the years. But I think in my painting you can see the signature of one artist, the work of one wrist.

You have to know how to use the accident, how to recognise it, how to control it, and ways to eliminate it so that the whole surface looks felt and born all at once.

There are many accidents that are nothing but accidents-and forget it. But there are some that were brought about only because you are the person you are... you have the wherewithal, intelligence, and energy to recognize it and do something with it.

The price for living the life I have -- for any serious, devoted person, is that at times one must live alone, or feel alone. I think loneliness is associated in many people's minds when they think about success.

A really good picture looks as if it's happened at once. It's an immediate image.

A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it as well - she did this and then she did that; there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.

I've explored a variety of directions and themes over the years. But I think in my painting you can see the signature of one artist, the work of one wrist.