A lot of what I do is about being in the moment and I think that's hard for people to get. I like it when things suddenly affect the painting. I mix up this red and it affects the whole painting or this little bit of white falls down there, and something changes the whole nature of the thing. The residue on what happens, that's what's in the paintings.

Making a painting is like playing the saxophone. You hit the note and it comes out.

You can't have a good bullfight without a good bull.

I think that truth is stranger than fiction, and it's nice to know the people you're making a movie about.

I think it's good when people don't write good things about your work. I mean, what a great compliment it is to be called a charlatan.

I'm not mannerist. I don't think I'm interested in mannerism. If I ever use it in a way, or if manner is like some kind of product of certain sorts of usage of different kinds of materials, then it's about involution or turning in on that.

I wanted to show painting paintings first, then the plate paintings; now I can show that I've sort of freed myself from stylistic inhibitions.