If it's good, it's mine. If it's bad, it's a fake.

Forcing yourself to use restricted means is the sort of restraint that liberates invention. It obliges you to make a kind of progress that you can't even imagine in advance.

Photography has arrived at the point where it is capable of liberating painting from all literature, from the anecdote, and even from the subject. In any case, a certain aspect of the subject now belongs to the domain of photography. So shouldn't painters profit from their newly acquired liberty, and make use of it to do other things?

The urge to destroy is also a creative urge.

For being a bad student I was banished to the 'calaboose' - a bare cell with whitewashed walls and a bench to sit on. I liked it there, because I took along a sketch pad and drew incessantly I could have stayed there forever drawing without stopping

What is a face, really? Its own photo? Its make-up? Or is it a face as painted by such or such painter? That which is in front? Inside? Behind? And the rest? Doesn't everyone look at himself in his own particular way? Deformations simply do not exist.

I am always making that what I am not capable, in an attempt to learn how to doing it.