Malevich, Lissitsky, Kandinsky, Tatlin, Pevsner, Rodchenko... all believed in the social role of art... Their works were like hinged doors, connecting activity with activity. Art with engineering; music with painting; poetry with design; fine art with propaganda; photographs with typography; diagrams with action; the studio with the street.

Protest and anger practically always derives from hope, and the shouting out against injustice is always in the hope of those injustices being somewhat corrected and a little more justice established.

A peasant becomes fond of his pig and is glad to salt away its pork. What is significant, and is so difficult for the urban stranger to understand, is that the two statements are connected by an and not by a but.

We never look at just one thing; we are always looking at the relation between things and ourselves.

For the artist, drawing is discovery. And that is not just a slick phrase; it is quite literally true.

A drawing is essentially a private work, related only to the artist's own needs; a 'finished' statue or canvas is essentially a public, presented work - related far more directly to the demands of communication.

Paris, I believe, is a man in his twenties in love with an older woman.