I felt very strongly the whole social impact of that depression, you know, and I felt very strongly about the efforts that this Resettlement Administration was trying to accomplish; resettling people, helping them, and so on.
I feel, having the choices I had, I felt I had more control over my own medium than I did over photography.
You can always tell in a movie when they are setting you up for something. If someone leaves an important object on the table and walks away, the camera will have some way of indicating that to you.
She was the sun of my life, the gilder of every pleasure, the soother of every sorrow, I had not a thought concealed from her, and it is as if I had lost a part of myself.
When I moved to New York, I was waiting tables, painting in the daytime and working at night, and I felt it was possible to find a balance and just about get by.
When you left on Saturday, I felt a horrible void, I saw you everywhere, on the beach, in your room, in the garden: impossible for me to get used to the idea that you had left.
I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.
I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.
Photography is the easiest medium with which to be merely competent. Almost anybody can be competent. It's the hardest medium in which to have some sort of personal vision and to have a signature style.
If the bottom dropped out of the market and the artist was not going to sell anything, he or she will keep working, and the dealer will keep trying to find some way to convince somebody to buy this stuff.
I always felt I was living in two worlds. One was the Mexican world, because nearly everybody I knew, relatives and cousins and kids in the neighbourhood, were Mexican. Then school was a different world. It was ethnically mixed.
We grew out of the superhero comics, but we still liked comics, so we started putting our own experiences in the stories we were doing for our own amusement.
We were very happy when a South African court, which had previously ruled against us, took another look and decided that this material was not obscene and allowed it into the country.
I wanted to do pretty much a purely boy story, yes. The girls are kind of the bad guys in 'Marble Season', although that wasn't my intention. It's also a world without adults.
I can paint and draw. I believe this myself and a few other people say that they believe this too. But I'm not certain of whether it's true.
I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene.
Singing has always seemed to me the most perfect means of expression. It is so spontaneous. And after singing, I think the violin. Since I cannot sing, I paint.
And when Roger talks about the frightened ones running away from the bombs, I immediately thought of my days when I was young and I had to wear these gas masks.
You have to know how to use the accident, how to recognise it, how to control it, and ways to eliminate it so that the whole surface looks felt and born all at once.
I came here as a man of visions. I was sent here as a man of visions, like a second Noah. I'm not a Noah but I'm here as a second Noah. I'm here as a red light is in the street.
A collection makes its own demands. Many artists have been collectors. I think of it rather as an illness. I felt it was using up too much energy.
