I am isolated as an artist, not as a person.
I find old copies of National Gallery catalogues, which are written in the dryest possible prose, infinitely soothing.
My language is what I use, and if I lost that, I wouldnt be able to say anything.
I am happy for people to talk about my pictures, but I wish devoutly that I was not expected to talk about them myself.
I look at my pictures, and I think, 'Well, how did I do that?
A collection makes its own demands. Many artists have been collectors. I think of it rather as an illness. I felt it was using up too much energy.
I don't really have a historical overview of my work at all. I'm not an art historian. I don't see that there's this period and that period.
You keep on balancing and balancing and balancing until the picture wins, because then the subject's turned into the picture.
In England, it's thought to be morally suspect to worry about what your surroundings look like.
I'm vulnerable to criticism. Any artist is, because you work alone in your studio and, until recently, critics were the only way you'd get any feedback.
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.
A painting is finished when the subject comes back, when what has caused the painting to be made comes back as an object.
I never think that anything I do is courageous.
Eventually, a collection ceases to be a personal indulgence and assumes its own identity. In fact, it becomes a thing in its own right - rather like Frankenstein's monster.
Passion lies between one mark and the next, and also within all of them.
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.
I dont think you can lightly paint a picture. Its an activity I take very seriously.
I want my pictures to be things. I want them to be made up of marks that are physically and individually self-sufficient.
I think that words are often extraneous to what I do.
It takes a long time for the gleam in the eye to turn into something solid.
To be a painter now is to be part of a very small, endangered species.
My pictures really finish themselves.
A lot of people... are afraid of pictures which have visible emotions in them. They feel calmer in front of pictures which are placid.
It is simply impossible to control a large painting with the edge in the same way that you can control a small one.
The only way an artist can communicate with the world at large is on the level of feeling.
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