Even a part of an object has value. A whole new realism resides in the way one envisages an object or one of its parts.

Colour is a human need like water and fire. It is a raw material indispensable to life

Above all, it is a matter of loving art, not understanding it.

The Beautiful is everywhere; perhaps more in the arrangement of your saucepans on the white walls of your kitchen than in your eighteenth-century living room or in the official museums.

I organize the opposition between colors, lines and curves. I set curves against straight lines, patches of color against plastic forms, pure colors against subtly nuanced shades of gray.

Man needs color to live; it's just as necessary an element as fire and water.

Modern man lives more and more in a preponderantly geometric order. All human creation mechanical or industrial is dependent upon geometric intentions.

Enormous enlargements of an object or a fragment give it a personality it never had before, and in this way, it can become a vehicle of entirely new lyric and plastic power.

The realistic value of a work is completely independent of its properties in terms of content.

This truth must be recognized as a dogma and assume the validity of an axiom in the general understanding of painting

Power inheres in a center. You're going to the center.

So rapid is the flight of dreams upon the wings of imagination.

. . . clumsiness is often mated with a love of solitude.

What's the matter? What's the antimatter? Does it antimatter?

Am I to leave this world as a man who shies away from all conclusions?

These are tough and unusual times and I don't see the negative global economic situation abating anytime soon.

Entitlement never wins Championships, Investment wins Championships.

You scratch a preacher a little bit, and you'll get an actor.

A fortress is of no use to cowards.

Sci-Fi is incredibly challenging and has its own language. I have to speak its language; it's not going to learn mine.