In abstract painting, I worried about the limited range of possibilities that, as time went on, became increasingly important to me. I wanted to express or deal with differences that an all-over paint and canvas 'presence' neutralized.
With rare exceptions, I respond most to painting that cuts across grain rather than following it. I think the artist here can get in touch with that grain rather than simply feel its flow. And he really can't cut right across it anyway.
I want a painting to be difficult to do. The more obstacles, obstructions, problems - if they don't overwhelm - the better. I would like to feel that I am involved at any stage of the painting with all its moments, not just this 'now' moment where a superficial grace is so available.
My insights come in periods of working. There are wonderful moments of surprise, but I'm superstitious enough not to want to talk about them.
My father didn't think being an artist was a respectable or worthy goal for a man.
