Light is a metaphoric thing. There is green light and red light. Then there is black light, which is mostly danger.
The conventional definition of reality, and the idea of 'normal life', mean nothing.
Mostly, drawings are things I make for myself - I do them in sketchbooks. They are mental experiments - private inner thoughts when I'm not sure what will come out.
We were very poor and my family lost everything during the war - our home and our identity. But I'm a believer in luck and think the social conditions you're born into provide the opportunity for you to prove your luck. And I suppose I've been lucky.
I love all dots. I am married to many of them. I want all dots to be happy. Dots are my brothers. I am a dot myself.
There has to be an element of risk-taking for me in my work.
A negative is never finished.
As a child, I copied Duerer drawings and Bruegel.
I began drawing as a very young child and had a grandfather who experimented with photography, so those things constituted my first exposure to art.
Picabia is a very old painter who some people try to connect me to, but I refuse such comparisons very well.
Yes, my works... are enshrined in museums, but I don't care if the pieces fall apart in 20 years.
I've never been interested in philosophy, but some of Jung's ideas seem useful in helping people understand pictures and so forth.
When I was young, I was interested in Renaissance art.
Because I was traveling a lot during the '70s, the only thing I could do on the road was take photographs, so there wasn't much painting during those years.
By making pictures, you learn the many different properties of photography. I use those properties differently than, say, an advertising agency would, but we're both operating in the same reality. A face painted by Picasso occupies the same reality as a portrait by Stieglitz.
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