I happen to love engineering. I love figuring things out in a spatial sense, that whole realm of working with mechanical parts, and the relationship of the parts, and things like ratios and the speeds of particular objects.
There's a moment of recognition. It's that white-light kind of stuff that just 'works.' I love that. And you know it when it happens, whether it's a movie, music, a building, a book.
Once I moved to London I thought it was unbeatable. I work a lot in L.A. and love it, but would never give up London. It's a true world city, with an energy that's unique.
I love my sculptures, and I was lucky I had them for 50 years because no one would look at them, and I really liked having them around.
And then I went round the corner and there's a Van Gogh portrait, and you just think, well, this is another level. A higher level, actually. I love the Sargent, but it's not the level of Van Gogh.
Throughout the time in which I am working on a canvas I can feel how I am beginning to love it, with that love which is born of slow comprehension.
He has no talent at all, that boy! You, who are his friend, tell him, please, to give up painting. –--Manet to Monet, on Renoir---
I enjoy sharing my books as I do my friends, asking only that you treat them well and see them safely home.
I think little things are more powerful because they're more honest, so people feel them more strongly.
The designer must understand that form does not follow function nor does form follow a production process. For every use and for every production process there are innumerable equally attractive solutions.
When I met my designs in the market of a remote village in the West Indies, or in the airport restaurant in Zurich, I felt like the mother of many well-behaved children.
I don't call myself an 'industrial designer,' because I'm other things. Industrial designers want to make novel things. Novelty is a concept of commerce, not an aesthetic concept.
I have no problem twisting the facts if it's the only way I can be true to the moment.
What I can't tell with a photo I will tell with a painting, and what I can't tell with a painting I will tell with a video or text sometimes, et cetera.
We've lost control of this planet somewhere. There's an echo in that kind of tornado situation, where you're powerless facing those phenomena.
I destroy things every day in the act of working and often recall a picture I had considered finished in order to rework it.
On certain projects, on big public projects, people definitely are interested in making them greener, but on smaller projects with tight budgets it can be harder.
The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any other consideration.
I leave you my portrait so that you will have my presence all the days and nights that I am away from you.
The most important thing for everyone in Gringolandia is to have ambition and become 'somebody,' and frankly, I don't have the least ambition to become anybody.
I think that has been a benefit to me because I think most people understand quilts and not a lot of people understand paintings. But yet they're looking at one.
