Colour can be the true main thing in art that is widely valued – even valued by the maker of the art – for other meanings.

Until the late 1970s there'd either be only black or white in the paintings or if there were colours it would be a small amount, not a large area, and with the color separated from other colors by black or white (which is formula for Damien Hirst's successful dot paintings, incidentally).

Colour can be the true main thing in art that is widely valued – even valued by the maker of the art – for other meanings.

Without rules you can't have anything, but you don't want to just be pedantic or obsessive. The painting is finished when it's working. The overall balance is right. Balance shouldn't be confused with design. There has to be restless jostle and aggression and a bit of dynamism, not just pat-ness or settled-ness or immediate pleasing-ness.

I think with art you have to do a bit of transforming of the subject to make the art worth having.

It was as if he (Sigmar Polke) painted his imagery in a highly wrought way, instead of a calculatedly dumb way, or mechanical way, by silk-screening or by tracing from epidiascope projections, and so on.