I can not evolve any concrete theory about painting.

Each painting has its own way of evolving. When the painting is finished, the subject reveals itself.

It is the mysterious that I love in painting. It is the stillness and the silence. I want my pictures to take effect very slowly, to obsess and to haunt.

One hundred artists introduce us to one hundred worlds.

As for the subject matter in my painting.. ..it is very often an incidental thing in the background, elusive and unclear, that really stirred me.

There is always an unconscious collaboration among artists.. ..the artist who imagine himself a Robinson Crusoe is either a primitive or a fool.

The eye seems to be responding to something living.

One can begin a picture and carry it through and stop it and do nothing about the title at all.

In the beginning I drew and painted from nature in order to know her. Then later, only to fall under her spell. And today, to let her mirror my thoughts and feelings.

I kept.. ..returning to the (ancient Roman) wall paintings with their veiled melancholy and elegant plasticity.

The large gray spiked form rising from the bottom of the picture is to me the symbol of death and ruin. And finally the black ovoid form is the symbol of fire, lava and destruction.

Every man has his secret sorrows which the world knows not

Nothing like the gift of living in the present.

The traditional approach to an unknown risk is avoidance.

Temperance adds zest to pleasure.

The chaste mind, like a polished plane, may admit foul thoughts, without receiving their tincture.

How you gon' win when you ain't right within. Uh uh come again

We dream in our waking moments, and walk in our sleep.

My sister has decided to become an actress too. It has ruined the close-knittedness of our family life.

And during my college, at the end of the junior year I worked in a mine.

The great stories go to those who aren't afraid to live them