Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.
As a kid, I lived in a fantasy world. I used to believe ants could talk. Not once did they say thank you.
When a project has an ample budget, I am interested now in using bigger units of materials.
I am always hearing from Israelis, 'Oh, CNN is anti-Israel,' or 'BBC is against us.' But no, they are reporting facts.
Open rehearsals reach people who might not otherwise hear the Philharmonic - people on fixed incomes, people who can't move easily at night, students.
Look, we're all saddled with things that make us better or worse. This world is a crazy place, and I've chosen to make my work about that insanity.
I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
As a painter today you have to work without that essential platform. But if one does not deceive oneself and accepts this lack of certainty, other things may come into play.
You can't do a machine without knowing something about how it's going to work. As for the romantics, the costumes bored me and I don't enjoy doing period clothes.
A lot of my work is about what's abstract and what's pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
People always say that my work is sensational or shocking but there are truly shocking things you could do, and my sculptures don't go anywhere near that.
What moves those of genius, what inspires their work is not new ideas, but their obsession with the idea that what has already been said is still not enough.
I find in working always the disturbing intrusion of elements not a part of my most interested vision, and the inevitable obliteration and replacement of this vision by the work itself as it proceeds.
My friends and neighbors were always fixing their cars. Soldiers who felt restless wanted to work on something, and they understood cars. Me, I like to look at cars but I was never really a mechanic.
I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.
I like my drawings to be direct. I don't generally work on them for too long, but that doesn't mean that they are not works in their own right.
Today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source. They work from within.
I guess I created LeRoy Neiman. Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work.
Usually I am on a work for a long stretch, until a moment arrives when the air of the arbitrary vanishes, and the paint falls into positions that feel destined.
Sometimes when I walk into a gallery and I see someone's work, I think to myself, 'Gee, I wish I had done that.'
Association with my pupils has kept me young in my work. Criticism of their work has kept my own point of view clear.
