...I am driven on by an idea that I really only grasp as it grows with the picture.
My pictures really finish themselves.
I would like to manage to prevent people from ever seeing how a picture of mine has been done. What can it possibly matter? What I want is that the only thing emanating from my pictures should be emotion.
I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.
Formerly pictures used to move towards completion in progressive stages. Each day would bring something new. A picture was a sum of additions. With me, picture is a sum of destructions. I do a picture, then I destroy it. But in the long run nothing is lost; the red that I took away from one place turns up somewhere else.
You don't take a picture, you make a picture.
I want to reach that condensation of sensations that constitutes a picture.
[My stories were] an excuse for making pictures.
One of the things that wrong with pictures today, I think, is that so many of the people making them started out wanting to.
They ... asked me: 'How do you make your pictures?' I was puzzled ... I said, I don't know, it's not important.
A picture should be a re-creation of an event rather than an illustration of an object; but there is no tension in the picture unless there is a struggle with the object.
Painting is seen as picture making, the making of an art object, something that can stand on its own.
In nature, light creates the color. In the picture, color creates the light.
I think there are a lot of pictures to make. I sometimes question whether I'm even an artist or just a painter. To me, the making of the pictures is the most important thing.
I see my practice as picture making. Whatever is available, I use.
It's impossible to make a picture without values. Values are the basis. If they are not, tell me what is the basis.
It is not possible to overstate the influence of Paul Cezanne on twentieth-century art. He's the modern Giotto, someone who shattered one kind of picture-making and invented a new one that the world followed.
I go and see anything that's visually new, any technology that's about picture-making. The technology won't make the pictures different, but someone using it will.
It is the spectators who make the pictures.
I always say I make pictures rather than take pictures.
I suppose I consider my work a kind of picture making.
I don't see those paintings as abstractions, especially because they are emblems of the inkblot. They aren't smashed together; they are constructed shape-by-shape, layer-by-layer, like any other picture.
All the good pictures that came so easily now make the next set of pictures virtually impossible in your mind.
Each picture has some sort of rhythm which only the director can give it. He has to be like the captain of a ship.
I was always interested in photography because it makes a picture.
