I feel most real to myself in the studio.

The public's appetite for famous people is a mouth as big as a mountain.

For me, the sketchbooks are more like a secret and wholly spontaneous jeu d'esprit and some of them I like as much as anything I have ever done. They are invariably without premeditation. I mean not only that I have no plan when I make them, I also have no plan to make them.

Painting that does not radiate feeling is not worth looking at. The deepest-and rarest-of grown-up pleasures is true feeling.

It's not that the creative act and the critical act are simultaneous. It's more like you blurt something out and then analyze it.

In the brush doing what it is doing, it will stumble on what one could not do by oneself.

In printmaking, I essentially use the same process as in painting with one important exception ... to try, with sensitivity to the medium to emphasize what printing can do best ... better than say, painting or collaging or watercolour or drawing or whatever ... Otherwise, the artist expresses the same vision in graphics that he does in his other work.