A Subject Emerges From An Interaction Between

Any Incentive To Paint Is As Good As Any Other. There Is No Poor Subject.

What Could Be More Interesting, Or In The End, More Ecstatic, Than In Those Rare Moments When You See Another Person Look At Something You've Made, And Realize That They Got It Exactly, That Your Heart Jumped To Their Heart With Nothing In Between.

I Dislike A Picture That Is Too Suave Or Too Skilfully Done. But, Contrariwise, I Also Dislike A Picture That Looks Too Inept Or Blundering.

The 'pure' Red Of Which Certain Abstractionists Speak Does Not Exist. Any Red Is Rooted In Blood, Glass, Wine, Hunters' Caps And A Thousand Other Concrete Phenomena. Otherwise We Would Have No Feeling Toward Red And Its Relations.

Every Intelligent Painter Carries The Whole Culture Of Modern Painting In His Head. It Is His Real Subject, Of Which Everything He Paints In Both An Homage And A Critique, And Everything He Says Is A Gloss.