"As for the value of color I am close to the philosophy of Fauvists: Matisse, Raoul Dufy, and Vlaminck. In other words, color for me is the most important constituent of painting. The composition and form extract themselves from the depth of color. My colors are the spirit of my paintings. For example, when the space is sad it is my pallet of colors that convey this sadness first."

“I believe any philosophizing about art is absurd and empty. Unfortunately, in the last century a phenomenon has emerged in which the status of “work of art” were granted to many foolish, tacky, and distasteful works as long as they were accompanied by ten or twelve pages of philosophizing justification.”

“Seurat and Signac mixed paintings with the dry and abstract laws of science. This approach, in my opinion, usually strays from the purpose of art in general. Because it means that one cannot expect from an artifact, that is created with mathematical laws, to establish an improbable and irrational relationship between the work and the viewer.”

“I love to experiment with all styles, and do not have any particular prejudice or bias towards any specific style. These works appear, and they turn out, the way they should. I do not decide in what style I want to paint. I am only experimenting. Even Picasso, when he arrived at Cubism, had already experimented with a lot of other styles.”

“I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture.”

“As with respect to viewers, I must say that gallery-viewing is increasingly becoming more of a fashion than a love. Many of the openings have turned into exhibitions of pompousness. Also, there are groups of viewers that enter galleries with their already formed judgments. Amidst all these there are also groups that show absolutely no reaction towards the works, these are the worst. They are neither approving nor disapproving. A smaller percentage constitutes honest art-lovers who ask questions, and their views are worthwhile and they inspire real energy in an artist.”

“It must be said that an authentic work of art needs no philosophical justification. In principle, if Philosophical Treatises could explain a work of art then there would be no justification for the existence of that work art. Put it differently, a work of art precisely enters into the scene when philosophy and other experimental sciences are inept of representing or elucidating an artistic vision.”