+ Painters have always needed a sort of veil upon
which they can focus their attention. It's as
though the more fully the consciousness is absorbed,
the greater the freedom of the spirit behind.
+ An artist's failures are as valuable as his
successes.. by misjudging one thing he conforms
something else, even if at the time he does not
know what that something else is.
+ Well I think I work on two levels. That is to
say that I occupy my conscious mind with things
to do.. lines to draw, movements to organize,
rhythms to invent. In fact I keep myself occupied.
But that allows other things to happen which I'm
not controlling, and I think that the more that
I exercise my conscious mind, the more open the
other things may find that they can come through.
+ It seems to me that the deeper, truer personality
of the artist only emerges in the making of decisions..
in refusing and accepting, changing and revising.
+ It was only after I had been out of the art
school that I actually copied a small Seurat,
and I copied it in order to follow his thought,
because if you do copy an artist, and you have
a close feeling for him, in fact that you need
to know more about his work, there is no better
way than actually to copy, because you get very
close indeed to how somebody thinks.
+ For me nature is not landscape, but the dynamism
of visual forces.. an event rather than an appearance.
These forces can only be tackled by treating color
and form as ultimate identities, freeing them
from all descriptive or functional roles.