I maintain that the frustration is an important, almost crucial, ingredient. I think that the best painting involves frustration. The point about the… - Philip Guston

To will a new form is inacceptable, because will builds distortion. Desire too, is incomplete and arbitrary. These strategies, however intimate they might become, must especially be removed to clear the way for something else – a condition somewhat unclear, but which in retrospect becomes a very precise act. This 'thing' is recognized only as it comes into existence. It resists analysis - and probably this is as it should be. Possibly the moral is that art cannot and should not be made.

So when the 1960's came along I was feeling split, schizophrenic. The war, what was happening to America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything—and then going into my studio to adjust a red to a blue.

..there comes a point when something catches on the canvas, something grips on the canvas. I don’t know what it is, you can put your paint on the surface? Most of the time it looks like paint, and who the hell wants paint on a surface? But there does come a time – you take it off, put it on, goes over here, moves over a foot, as you go closer you start moving in inches not feet, half-inches – there comes a point when the paint doesn't feel like paint. I don't know why. Some mysterious thing happens. I think you have all experienced it.. ..What counts is that the paint should really disappear, otherwise it's craft. That's what I mean by something grips in a canvas. The moment that happens you are then sucked into the whole thing. Like some kind of rhythm.