Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.

Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.

I think, if one is a painter, all you experience does come out when you’re painting.

My own image of my work is that I no sooner settle into something than a break occurs. These breaks are always painful and depressing but despite them I see that there's a consistency that holds out, but is hard to define.

I like a canvas to breathe and be alive. Be alive is the point. And, as the limitations are something called pigment and canvas, let's see if I can do it.

I knew de Kooning and I went to his studio so I knew about de Kooning's work. But only a little handful knew about it, you know. Maybe there were ten people that knew about it.

At that point it certainly would be called abstract. That is to say, you had a model and there'd be one or two or three people there drawing the model but otherwise you had abstractions all around the room, even though the model was in front of you.