"I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them however, - I think it applies to other painters I know -, is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command."

“..one must agree with Rilke when he says that with 'nothing can one touch a work of art so little as with critical words..' .It was Marcel Duchamps who was critical, when he drew a moustache on the 'Mona Lisa'. And so was Mondrian when he dreamed of the dissolution of painting, sculpture, and architecture into a transcendent ensemble.”

“dealing not with the particular anecdote, but rather with the Spirit of Myth, which is generic to all myths at all times.”

“The romantics were prompted to seek exotic subjects and to travel to far off places. They failed to realize that, though the transcendental must involve the strange and unfamiliar, not everything strange or unfamiliar is transcendental. The unfriendliness of society to his activity is difficult for the artists to accept. Yet this very hostility can act as a lever for true liberation.. .Both the sense of community and of security depend on the familiar. Free of them, transcendental experiences become possible.”

“Like the Cubists before them, the abstractionists felt a beautiful thing in perceiving how the medium can, of its own accord, carry one into the unknown, that is to the discovery of new structures. What an inspiration the medium is..”

“We are concerned with similar states of consciousness and relationship to the world.. .If previous abstractions paralleled the scientific and objective preoccupations of our times, ours are finding a pictorial equivalent for man's new knowledge and consciousness of his more complex inner self.”

“I will say without reservations that from my point of view there can be no abstractions. Any shape or area that has not the pulsating concreteness of real flesh and bones, its vulnerability to pleasure or pain is nothing at all. Any picture that does not provide the environment in which the breath of life can be drawn does not interest me.”