"I do believe abstraction is and was meant to embody deep emotion. I believe that's its job, in the history of art."
"I was always artistic - right from childhood - but my love of painting came a bit later. It followed my love of music."
"When I got into art school, I thought it was paradise. I wanted to be an artist so much that I was really driven and nothing could stop me."
"I work on stretched linen canvas, sized so that the surface already has a sense of tension when I begin. It is a very rich and reactive surface. I begin by drawing on the canvas with a kind of loose line, very simply and freely. I paint very thinly, which allows me to change the drawing if I want to."
"I look at my paintings for a very long time before letting them out of my studio. I like to get on the treadmill and look around at all of my paintings while I exercise. I try to stare them down to make them reveal their weaknesses. If they reveal weaknesses, they get repainted."
"The power of a painting has to come from the inside out. It's not just an image. It's an image with a body and that body has to contain its spirit. What's behind it decides everything. How it starts will define how it ends."
"I wanted to do something in my life that wasn't ordinary - which wasn't normal. I couldn't bear to live my life as a normal person, put another way: conventionally. So if I had a choice between living in suburbia and being dead, I would rather be dead. That implies I am going to do something with my life that is not ordinary. Then it is only a question of what that is. I could have gone into a number of different things."
"My work is really based on a kind of idealism and romanticism with beauty and form and profundity all wrapped up."
"As you go through life you're presented with different possibilities at different points in your life and you have to realize what those possibilities are. When you're fifty, you don't have the possibility to be twenty, but you do have the possibility to be fifty and everything that that means; all the accumulated power that you have and the vitality that you still have."
"I don't think an abstract painting is something you worship. It is something that is part of the world. It is as if the spirituality in art stepped off a pedestal, or from behind a sheet of glass, and has joined the world of the living. That, of course, is the contradiction with it because many people find it more exclusionary than an icon painting."
"The whole point of painting is that it has the potential to be so humanistic, so expressive. To give that up is a tremendous mistake because then what you are doing is imitating forms of technological expression which can be manifested more directly, more efficiently, and frankly, more beautifully, in their original form."
"I want my brushstrokes to be full of feeling; material feeling manifested in form and color."
"They are abstract paintings and they are quite lyrical. But they remind you of things that exist in the world. They remind you of the way the world is ordered."
"I try to make paintings that everybody can relate to; in terms of their drawing, it's a very simple kind of counting. It's based on rhythm or simple architectural structures. You can also relate it to music, rhythmical musical structures or mathematical structures. I'm not making them complicated. They are very simple."
"What I am painting is a simple divisional structure, but you see the way it is painted, what color it is painted, and how many times it is painted in relation to that simple structure."
"They are like intimate paintings on a giant scale. They maintain the connection with painting; they don't give that up. At the same time, the language I use is the language of the contemporary world you can find anywhere, on computer screens, things are arranged in rows and lines; it's simple numerical order."
"If I stand in the subway in New York and I look down, everything is repeated. That's how we put the world together now. And that is how I put my paintings together. In that sense they are in complete accord with the contemporary world so people can enter them quite naturally."
"My paintings are not known to be uplifting. I'm not a jolly painter. Now they've become a lot more vital. I don't control as much."
"There's a lot of darkness in my work but there's a lot of light in it too, because I'm always trying to paint the whole world, yearning for the union with life."
"I am in the business of making something sublime."
"In the end art has to be something that you can love."