I think that one wants from a painting a sense of life. The final suggestion, the final statement, has to be not a deliberate statement but a helpless statement. It has to be what you can't avoid saying.
As one gets older one sees many more paths that could be taken. Artists sense within their own work that kind of swelling of possibilities, which may seem a confusion, or a freedom.
If you have an idea, you have to move on it, to make a gesture. Drawing is an immediate way of articulating that idea - of making a gesture that is both physical and intellectual.
If I try to articulate every little detail in a drawing, it would be like missing the forest for the trees, so it's just about getting the outline of the forest.
The satirical direction I have chosen is an indication of my disappointment in man, which is the opposite way of saying that I have high expectations for the human race.
The government would be able to go to court with respect to newspaper articles, broadcast pieces and the like that they thought were bad or harmful or even against the government and try to block them.
I love audio books, and when I paint I'm always listening to a book. I find that my imagination really takes flight in the painting process when I'm listening to audio books.
Ten years ago I was not heavily involved in the film world but on reflection it was a boom time with the mineral boom happening, so there was immense growth for industrial training films, documentaries to do with the mining, and the outback world.
In '38, this time I did a job for Mr. Stryker. I went on his payroll at about half the salary I was getting before, to cover what he called Harvest in Ohio.
The second time I was there I met Marcel Duchamp, and we immediately fell for each other. Which doesn't mean a thing because I think anybody who met Marcel fell for him.
A lot of people thought I wasn't doing anything because I was spending a lot of time socialising and going out, but I've always managed to get work actually done.
But slowly I began to use cameras and then think about what it was that was going on. It took me a long time, I mean I actually played with cameras and photography for about 20 years.
There's so much happenstance, so many accidents - stumbling into something and finding it interesting and living with it over time and building on it. It's okay to work from doubt. You need to be willing to not know.
I always work out of uncertainty but when a painting's finished it becomes a fixed idea, apparently a final statement. In time though, uncertainty returns... your thought process goes on.
After tea it's back to painting - a large poplar at dusk with a gathering storm. From time to time instead of this evening painting session I go bowling in one of the neighbouring villages, but not very often.
My effort has been not only to put the Biblical incident in the original setting... but at the same time give the human touch to convey to my public the reverence and elevation these subjects impart to me.
My efforts have been to not only put the Biblical incident in the original setting, but at the same time give the human touch which makes the whole world kin and which ever remains the same.
The physical characteristics of the child Jesus will always remain a point of discussion. No artist has ever produced a type, nor ever will, that has in it all that the varying minds of all time will acknowledge as complete.
In abstract painting, I worried about the limited range of possibilities that, as time went on, became increasingly important to me. I wanted to express or deal with differences that an all-over paint and canvas 'presence' neutralized.
Well, I like way downtown near the Battery. I lived down there at this time and for, I guess, the following well, this is where I moved to uptown and I've been here for four years and this is 1965.
Holiday binge-buying has deep roots in American culture: department stores have been associating turkey gluttony with its spending equivalent since they began sponsoring Thanksgiving Day parades in the early 20th century.
