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.

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.

My father didn't think being an artist was a respectable or worthy goal for a man.

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.

As a work progresses, its power to elicit and dictate response mounts. There seems to be an optimum moment when this power is at its greatest which just precedes the point where ‘elicit’ is no longer apt usage. ‘Dictates’ is the word for this condition and tyranny is the adversary.

And I can just see that sometimes the technique is blasting powder rather than steady struggle.

I want painting to be difficult to do.

I keep plastering it until it comes around to what I want, in terms of all I know and think about painting now, as well as in terms of the initial observation.

My father didn’t think being an artist was a respectable or worthy goal for a man. He hoped I would see my way to more serious work and would find myself turning towards medicine, law, or business.