The longer you look at an object, the more abstract it becomes, and, ironically, the more real.
The aura given out by a person or object is as much a part of them as their flesh.
The paintings that really excite me have an erotic element or side to them irrespective of subject matter.
As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
I remember Francis Bacon would say that he felt he was giving art what he thought it previously lacked. With me, it's what Yeats called the fascination with what's difficult. I'm only trying to do what I can't do.
I want paint to work as flesh.
Painting is sometimes like those recipes where you do all manner of elaborate things to a duck, and then end up putting it on one side and only using the skin.
The painter's obsession with his subject is all that he needs to drive him to work.
Full, saturated colours have an emotional significance I want to avoid.
I never think about my style but just try and make the pictures look believable.
A painter's tastes must grow out of what so obsesses him in life that he never has to ask himself what it is suitable for him to do in art.
My work is purely autobiographical... It is about myself and my surroundings.
I would wish my portraits to be of the people, not like them. Not having a look of the sitter, being them.
There is a distinction between fact and truth. Truth has an element of revelation about it. If something is true, it does more than strike one as merely being so.
I paint people not because of what they are like, not exactly in spite of what they are like, but how they happen to be.
For un-subscribe please check the mail footer.