The progression of a painter’s work…will be toward clarity; toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer…to achieve this clarity is, inevitably, to be understood.

There is more power in telling little than in telling all.

I do not believe that there was ever a question of being abstract or representational. It is really a matter of ending this silence and solitude, of breathing, and stretching one's arms again transcendental experiences became possible.

It is the poet and philosopher who provide the community of objectives in which the artist participates. Their chief preoccupation, like the artist, is the expression in concrete form of their notions of reality. Like him, they deal with the verities of time and space, life and death, and the heights of exaltation as well as the depths of despair. The preoccupation with these eternal problems creates a common ground which transcends the disparity in the means used to achieve them.

When I was a younger man, art was a lonely thing. No galleries, no collectors, no critics, no money. Yet, it was a golden age, for we all had nothing to lose and a vision to gain. Today it is not quite the same. It is a time of tons of verbiage, activity, consumption. Which condition is better for the world at large I shall not venture to discuss. But I do know, that many of those who are driven to this life are desperately searching for those pockets of silence where we can root and grow. We must all hope we find them.

We are concerned with similar states of consciousness and relationship to the world.. ..If previous abstractions paralleled the scientific and objective preoccupations of our times, ours are finding a pictoral equivalent for man's new knowledge and consciousness of his more complex inner self.

Look, it's my misery that I have to paint this kind of painting, it's your misery that you have to love it, and the price of the misery is thirteen hundred and fifty dollars.