The more I work, the more I want to work.

My characters have undergone the same process of simplification as the colors. Now that they have been simplified, they appear more human and alive than if they had been represented in all their details.

I feel the need of attaining the maximum of intensity with the minimum of means. It is this which has led me to give my painting a character of even greater bareness.

Never, never do I set to work on a canvas in the state it comes in from the shop. I provoke accidents - a form, a splotch of color. Any accident is good enough. I let the matiere decide. Then I prepare a ground by, for example, wiping my brushes on the canvas. Letting fall some drops of turpentine on it would do just as well. If I want to make a drawing I crumple the sheet of paper or I wet it; the flowing water traces a line and this line may suggest what is to come next.

I believe that to do anything in this world one needs a love for risk and adventure, and above all, to be able to do without what middle-class families call "future."

For me an object is something living. This cigarette or this box of matches contains a secret life much more intense than that of certain human beings.

Throughout the time in which I am working on a canvas I can feel how I am beginning to love it, with that love which is born of slow comprehension.