"In my case, I find a blank canvas so beautiful that that to work immediately, in relation to how beautiful the canvas is as such, is inhibiting and, for me, demands 'too much to quickly'; so that my tendency is to get the canvas 'dirt', so to speak, in one way or another, and then, so to speak 'work in reverse', and try to bring it back to an equivalent of the original clarity and perfection of the canvas, that one began on..."

“It would be very difficult to formulate a position in which there were no external relations. I cannot imagine any structure being defined as though it only has internal meaning.”

“Every intelligent modern painter carries the whole culture of modern painting in his head.”

“Nothing as drastic an innovation as abstract art could have come in to existence, save as the consequence of a most profound, relentless, unquenchable need. The need is for felt experience - intense, immediate, direct, subtle, unified, warm, vivid, rhythmic.”

“I begin from an impulse, an intense and irrational desire that takes you over, prompting you to start moving. And from experience, with some knowledge of what moves oneself, I think it's not altogether arbitrary what one begins with.. ..certainly implicit partially is the feeling, not that 'I am going to paint something I know' by 'through the act of painting I'm going to find out exactly how I feel'.”

“The emergence of abstract art is a sign that there are still men of feeling in the world. Men who know how to respect and follow their inner feelings, no matter how irrational or absurd they may first appear. From their perspective, it is the social world that tends to appear irrational and absurd.”

“We were formed by the Depression , when the American dream lay in pieces on the floor. The possibility of making money was inconceivable to us. America was innocent in relation to modern art, and no one cared. The reigning painters in America were very parochial in relation to the international tradition.. .What held us together was our ambition to use the standards of international modernism as a gauge, not those of Thomas Hart Benton or Grant Wood or Guy Pene du Bois. We did have a terrible struggle, but not for success. It was to make painting that would stand up under international scrutiny, and all the rest was a byproduct.”