In painting, you have to destroy in order to gain... you have got to sacrifice something you are quite pleased with in order to get something better. Of course, it's a risk.
It is not a question so much of a 'tree like a figure' or a 'root like a figure' - it is a question of bringing out the anonymous personality of these things.
The unknown is just as real as the known and must be made to look so.
I see something - some conjunction of forms - which dominates all others. There is a sudden recognition that in what I have been looking at there is contained a unique series of rhythms... A shiver down the spine arrives to prove the validity of such an encounter.
I don't think anyone is free - one creates one's own prison.
Almost everything, if one keeps one's eyes open, is potential material for painting.
I don't think anyone is free
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