Any innovation that is evident in my paintings is a direct result of something that happened in the course of making a print.
I absolutely hate technology, and I'm computer illiterate, and I never use any labor-saving devices although I'm not convinced that a computer is a labor-saving device.
There's something Zen-like about the way I work - it's like raking gravel in a Zen Buddhist garden.
I am going for a level of perfection that is only mine... Most of the pleasure is in getting the last little piece perfect.
When you come up in the art world, whatevers in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.
I build a painting by putting little marks together-some look like hot dogs, some like doughnuts.
I'm not by nature a terribly intuitive person; I need to build a situation in which I will behave more intuitively, and that has really changed the life of my work - I found a way to trick myself into being intuitive.
In the 7th grade, I made a 20-foot long mural of the Lewis and Clark Trail while we were studying that in history because I knew I wasn't going to be able to spit back the names and the dates and all that stuff on a test.
Like any corporation, I have the benefit of the brainpower of everyone who is working for me. It all ends up being my work, the corporate me, but everyone extends ideas and comes up with suggestions.
If the bottom dropped out of the market and the artist was not going to sell anything, he or she will keep working, and the dealer will keep trying to find some way to convince somebody to buy this stuff.
I learned you could suffer a terrible tragedy and still be happy again.
I'm very learning-disabled, and I think it drove me to what I'm doing.
I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.
Ive said its a little bit like a magician performing for a convention of magicians... all the magicians in the audience watching this illusion-Do they see the illusion, or do they see the device that made the illusion? Probably they see a little of both.
Most people are good at too many things. And when you say someone is focused, more often than not what you actually mean is they're very narrow.
I have a great deal of difficulty recognizing faces, especially if I haven't - if I've just met somebody, it's hopeless.
Any artist who goes to Las Vegas is an idiot as far as I am concerned. Whoever goes to Las Vegas can stay in Las Vegas.
There are things about signing on to a process over the long term that protect you from the buffeting winds of change.
I never said the camera was truth. It is, however, a more accurate and more objective way of seeing.
