Paint faster than you can think.
Sometimes it takes me days or weeks to get something clear in my head on what I want to do. Everything is in steps. One thing leads to another.
If you know what you're doing, you're doing dull stuff.
You have to be a little scared of what you're doing. Otherwise, you just paint the same masterpiece a little worse.
Make a painting you can work on for a long period, and make it look like it doesn't show any effort.
Painting seems an old man's business. After a certain time you're out of it, and you just paint masterpieces.
A New York audience generally likes decorative paintings, and decorative paintings go with the couch. If you change the couch, you change the painting. And when you're coming up, and the paintings aren't first-class decoration, you're at a disadvantage for publicity and sales.
Most important, for openers, work six hours a day, seven days a week for six years. Then if you like it you can get serious about it.
What makes everything one is the style.
Picasso and Matisse were the guys I wanted to get away from, and cubism is all still lifes. Their paintings are all closed drawings. And still life is a perfect form for that. By the mid-'50s, I sort of dropped the still life. The large picture was a way of getting around them, too. The abstract expressionists were also into the large form because it was a way of getting around Matisse and Picasso. Picasso can't paint big paintings. Matisse didn't bother after a certain point.
You usually want to get something out of a painting other than the ideas that you had in your head.
I like to make an image that is so simple you can't avoid it, and so complicated you can't figure it out.
What's in front of me is what's most interesting.
Most contemporary artists are behind the bubble in time. They're making videos that are so incredibly boring compared to a good movie. Or they're making work where I say, "You realize minimal art is 50 or 60 years old?" That's what I tell people to shock them. They just blanch.
If you're going to go for 'it' you have a common thing you share with other artists; that's desperation. You jump out a window style-wise. Try to put it together before you hit the ground.
My mother thought I would have a hard life as a painter. My father thought the highest thing a person could be was an architect. Below that was a painter. So he thought it was much better than being, say, a doctor.
Actually, you want to go into an area where you're frightened. Otherwise, you're just going to be repainting beautiful paintings, but a little duller each time.
I use the iPhone now for information. But with selfies, I don't know what those people are doing. It's like they believe what they see is real, even with the [filters]. And God bless them! But to me, it's not a self-portrait, it's a reality project.
I know people can be a little nervous about swimsuits, but have some fun with it. Believe you can hold it down. If you believe you can hold it down, you can wear it.
Realist painting has to do with leaving out a lot of detail. I think my painting can be a little shocking in all that it leaves out. But what happens is that the mind fills in what's missing . . . Painting is a way of making you see what I saw.
You have to find what your temperament is like and live around it. I find I work really well off the top of my head because you get the unconscious into it. Otherwise, it's just an idea. And I'm not so hot there.
The abstract expressionists had that thing of, subject matter becomes content, content becomes form. And I always thought there was no room for style. I felt with my painting, the style really is the content. The style holds everything together.
Part of what Im about is seeing how I can paint the same thing differently instead of different things the same way.
