In my early work, I tried to hide my personality, my psychological state, my emotions. This was partly due to my feelings about myself and partly due to my feelings about painting at the time. I sort of stuck to my guns for a while but eventually it seemed like a losing battle. Finally one must simply drop the reserve.

I think a painting should include more experience than simply intended statement.

One wants one's work to be the world, but of course it's never the world. The work is in the world; it never contains the whole thing.

It's simple, you just take something and do something to it, and then do something else to it. Keep doing this, and pretty soon you've got something.

Intention involves such a small fragment of our consciousness and of our mind and of our life.

I often find that having an idea in my head prevents me from doing something else. Working is therefore a way of getting rid of an idea.

I’m interested in things which suggest the world rather than express the personality... The most conventional thing, the most ordinary - it seems to me that those things can be dealt with without having to judge them; they seem to me to exist as clear facts, not involving aesthetic hierarchy.