In principle, any abstraction of the object is allowed which has a sufficiently strong creative power behind it.

My heart beats more for a raw, average vulgar art, which doesn't live between sleepy fairy-tale moods and poetry but rather concedes a direct entrance to the fearful, commonplace, splendid and the average grotesque banality in life.

I am seeking for the bridge which leans from the visible to the invisible through reality.

The important thing is first of all to have a real love for the visible world that lies outside ourselves as well as to know the deep secret of what goes on within ourselves.

I do not weep: I loathe tears, for they are a sign of slavery.

My figures come and go, suggested by fortune or misfortune. I try to fix them divested of their apparent accidental quality.

I think only of objects: of a leg or an arm, of the wonderful sense of foreshortening, breaking through the plane, of the division of space, of the combination of straight lines in relation to curved ones.