Intention involves such a small fragment of our consciousness and of our mind and of our life.
To be an artist you have to give up everything, including the desire to be a good artist.
There was very little art in my childhood. I was raised in South Carolina; I wasn't aware of any art in South Carolina. There was a minor museum in Charleston, which had nothing of interest in it. It showed local artists, paintings of birds.
Do something, do something to that, and then do something to that.
When something is new to us, we treat it as an experience. We feel that our senses are awake and clear. We are alive.
I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason.
The thing is, if you believe in the unconscious - and I do - there's room for all kinds of possibilities that I don't know how you prove one way or another.
To do a drawing for a painting most often means doing something very sketchy and schematic and then later making it polished.
I am not strong on perfection.
To me, self-description is a calamity.
I tend to like things that already exist.
Everyone is of course free to interpret the work in his own way. I think seeing a picture is one thing and interpreting it is another.
Take an object. Do something to it. Do something else to it.
Most of the power of painting comes through the manipulation of space... but I don't understand that.
Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither.
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