Naturally, the result is the thing [in painting] and it doesnvery vibrantt make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement.

The progression of a painter's work, as it travels in time from point to point, will be toward clarity: toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer. As examples of such obstacles, I give (among others) memory, history or geometry, which are swamps of generalization from which one might pull out parodies of ideas (which are ghosts) but never an idea in itself. To achieve this clarity is, inevitably, to be understood.

A painter works to formulate with or in colors.. .My paintings follow the second option.

To all viewers but yourself, what matters is the product: the finished artwork. To you, and you alone, what matters is the process: the experience of shaping the artwork.

[the process of painting..] ..is conceived of as an adventure, without preconceived ideas on the part of persons of intelligence, sensibility, and passion. Fidelity to what occurs between oneself and the canvas, no matter how unexpected, becomes central.. ..the major decisions in the process of painting are on the grounds of truth, not taste...

The processes are different for every album. Nothing is ever deliberate. Making art for me is one step in front of the next. You don’t begin with a full art work, you begin with one stroke and then you go. And you ask what else can I do until it’s a full picture.

I don't feel any direct relationship between what I do and existing art. Though there is unavoidable progression: the things all paintings have in common are paint, and color, and some means of application. With the standard you can make any two pictures appear either alike of different. I don't think whether they're alike or different is really very interesting.

A painting is above all a product of the artist's imagination, it must never be a copy. If, at a later stage, he wants to add two or three touches from nature, of course it doesn't spoil anything.

One could go on forever as to whether the paint should be thick or thin, whether to paint the woman or the square, hard-edge or soft, but after a while such questions become a bore. They are merely problems in aesthetics, having only to do with the outer man. But the painting I have in mind, painting in which inner and outer are inseparable, transcends technique, transcends subjects and moves into the realm of the inevitable.

Each painting has its own way of evolving. One may start with a few color areas on the canvas; another with a myriad of lines, another with a profusion of colors.. .Once I sense the suggestion I begin to paint intuitively. The suggestion then becomes a phantom that must be caught and made real. As I work, or when the painting is finished, the subject reveals itself.

I begin with an idea and then it becomes something else. After all, what is a painter? He is a collector who gets what he likes in others by painting them himself. This is how I begin and then it becomes something else.

My painting is based on the fact that only what can be seen there is there. It really is an object. Any painting is an object and anyone who gets involved enough in this finally has to face up to the objectness of whatever it is that he's doing. He is making a thing.. ..all I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion.. .What you see is what you see.

A painter is somebody who sees. I paint the moment when I set out. When I set out to see. And it’s the same thing for the viewer. When he approaches the canvas, he is advancing towards an encounter. The encounter with vision.

I've always been told that I was a painter's painter.. .What does that mean?.. .That painters like my painting and the big wide world overlooks it, I suppose?.. .Well, I know.. .To me, it would have meant that - this is pre this new rage in buying and selling paintings - that, I think, that the formal values, like light, space, color, all those things that a painting is made up of, as well as the Jacob going up the ladder or Venus on the half shell or something [chuckles] would be what interested the painter. And perhaps the public would want the picture of the Christ child, so to speak. You know what I mean.