You always have the memory of the bottom, and fear of the bottom. And when you start going to the bottom you panic.

Nothing in the world excites the culture today so much as a question. A question seems very appropriate to whatever you have in mind. Allowing your work to remain questionable is a way of satisfying your cultural condition.

Each of us has a universal within us. There's always that making of parts - but it doesn't touch the universal within you.

If there's no unity in your work, then you've deliberately made yourself into that kind of person. You don't want that unity in your work. You've made some kind of satisfactory arrangement with your culture.

The act, the doing, the taking up of paint and putting it down - the immediate impact upon your psyche or soul that occurs when you do that - has so much danger in it.

What you have to do is disavow yourself from any sense other than ascendancy. That's the only direction you could possibly have towards painting. There's no other direction at all. There's no other space in art. There's no other way in which you can find yourself except in somehow feeling it. And by holding to this feeling you can once again reach out and guess and miss - and sometimes hit.

As long as you can change paint, you don't change. For you to change - for paint to do something to you - paint must stay constant.