According to one critic, my works looked like scraped billboards. I went to look at the billboards and decided that more billboards should be scraped.
I believe that painting should come through the avenues of meditation rather than the canals of action.
I do believe that I will see the apocalypse in my lifetime. And when it comes, I'm not repenting for anything I've done.
I think that fashion is industrial, whereas style is ideological. So they're not necessarily connected.
You can't make a perfect painting. We can see perfection in our minds. But we can't make a perfect painting.
In common with Michelangelo and Rembrandt I am more interested in the line, its rise and fall, than in color.
Youth must go ahead and prosper. These young painters are all very talented people, but they all paint frescoes.
It was always my intention that The Frieze should be housed in a room which would provide a suitable architectural frame for it.
A lot of my work involves instilling objects with the power of touch - a transference of soul, spirit, energy through actions.
There are aspects of Asian culture in my work, but it's really rooted in an American experience - transcendentalism, '60s counterculture, punk rock.
My aim in painting is to create pulsating, luminous, and open surfaces that emanate a mystic light, in accordance with my deepest insight into the experience of life and nature.
My teacher said my brain was the size of a pea. He made my life miserable by singling me out in the classroom as a failure.
My work since the late '80s specifically questioned what was presented as the 'natural' order of things in the history of post-war-N.Y. painting.
I can't work completely out of my imagination. I must put my foot in a bit of truth; and then I can fly free.
It is not enough to know your craft - you have to have feeling. Science is all very well, but for us imagination is worth far more.
We discovered that there was a great deal of keen interest in America for the kinds of products that we thought could be produced here. Also there was an interest in Britain for Australian material generally.
I've been asked a great deal about the influence I've had with my work and it's impossible to say, you know.
Argentina is a marvelous place. Argentines are great bankers of information. They import information; if someone sneezes in Milan or in New York, they clean their faces very fast there.
I lived in London for a time in the '90s and I love it here. You know, I just go and see shows and have great dinners and walk around.
Very little changed fundamentally, except that the proud German soldier had turned into a defeated bundle of misery and the great German army had disintegrated.
Collecting has been my great extravagance. It's a way of being. I collect for the same reason that I eat too much-I'm one of nature's shoppers.
