"To answer your first question - most significantly the project was my training ground in the real sense of the word. I feel very strongly about this. We were all poor, or most of us, and to have the time and opportunity to continue working - I was then in my twenties which is the important period - the crucial period for the young painter. This was most important and figures significantly in my own development. Although I feel that my personal image as a painter did not come about until I began my easel painting with personal imagery which was about 1941. The project kept me alive and working - it was my education."

“I got sick and tired of all that Purity! Wanted to tell stories..”

“Man is not supposed to make life. Only God can make a tree. Why should you make a living organism? You should make images of living organisms. It seems presumptuous to attempt to make a thing which breathes and pulsates right there by itself. It's unnatural. What's inhuman about it is, the human way to create, I think, the way we see, from part to part. You do this and then you do that, then you do that and that. Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where even though you naturally have to paint, after all a painting is only a painting, the painting is always saying, what do you want from me, I can only be a painting, you have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point That's some kind of a leap.. ..I'm describing the process of painting.”

“I have a studio in the country - in the woods – but my paintings look more real to me than what is outdoors. You walk outside; the rocks are inert, even the clouds are inert. It makes me feel a little better. But I do have a faith that it is possible if you can move that inch.”

“Lots of artists who paint have that experience to one degree or another, this release where their thinking doesn't precede their doing. The space is shortened between thinking and doing. It's a funny thing, what I really hate, yet I have to go through with it, is the preparation. You have to go through it, like somebody preparing for sacred vows, the sensation of you putting paint on, and it's so boring to put paint on and to see yourself putting paint on. You're really preparing for those few hours where some kind of umbilical cord is attached between you and it. You do it and the work is done and this cord seems to slacken, as if you left yourself there. And what a relief to leave yourself somewhere, to get out of it entirely.”

“selection of his artworks - chronologically on Wikiart”

“It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one. Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear and I feel the drawing making itself, the image taking hold. This in turn moves me towards painting -anxious to get to the same place, with the actuality of paint and light.”