I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.

Very few people have written about what a work really looks like, especially once there were photographic reproductions of works and so they felt that the photograph would carry the information, and, of course, it does a piss poor job of letting someone know of the scale of the work and of the physicality and how thick the paint was and what the touch was.

I wanted to translate from one flat surface to another. In fact, my learning disabilities controlled a lot of things. I don't recognize faces, so I'm sure it's what drove me to portraits in the first place.

I knew from the age of five what I wanted to do. The one thing I could do was draw. I couldn't draw that much better than some of the other kids, but I cared more and I wanted it badly.

Most pilots learn, when they pin on their wings and go out and get in a fighter, especially, that one thing you don't do, you don't believe anything anybody tells you about an airplane.

A thousand painters ought to be killed yearly. Say what you like: I'm every inch a painter.