I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.
I don't believe in inspiration. Inspiration is for amateurs. Some of the time you know you're cooking, and the rest of the time, you just do it.
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.
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 am going for a level of perfection that is only mine... Most of the pleasure is in getting the last little piece perfect.
I build a painting by putting little marks together-some look like hot dogs, some like doughnuts.
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.
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.
I'm poor white trash from the state of Washington.
I think women realise that I love women, and very often women seem to love me.
I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.
Once I started working with the Polaroid, I would take a shot and if that shot was good, then I'd move the model and change the lighting or whatever... slowly sneaking up on what I wanted rather than having to predetermine what it was.
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.
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