+ I refuse to confide and don't like it when people write about art.

+ Painting is a language which cannot be replaced by another language. I don’t know what to say about what I paint, really.

+ There is nothing riskier or more difficult than to render a bright gaze, the barely tactile fuzz of a cheek, the presence of a barely perceptible emotion like a heaviness mixed with lightness on a pair of lips. But the body and facial features were not my only focus. That which lay beneath their bodies and features, in their silence and darkness, was of equal importance.

+ I had only planned to strike the gong violently in order to somehow shake people up and make them more aware. I think I succeeded.

+ I will always find even the worst paintings that attempt some kind of representation better than the best invented paintings.

+ One of my art's main motifs is the mirror, invested with the mark of vanity as well as the highest ascendancy. To me, it often gives an echo of the spirit's profoundest varieties, in the style of Plato, whom I often read at Rossiniere. That's why my young girls often hold them, not only to look at themselves, which would be a mere sign of frivolity and my young girls are nor shameless Lolitas but to plumb the furthest depths of their underlying beings. Thus my paintings have many layers of meaning, vanishings in the canvas, so to speak, that duplicate its story, confessing their unfathomability.

+ The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.