As with all other aspects of fiction, the key to writing good dialogue is honesty.
When you feel concentrated within the intensity of making paintings, you know exactly what you are doing.
When I start to paint, it is real agony. I get nervous. The day before, I am already working up to it. Then I get to the studio and, once the image starts to emerge and come together, pleasure kicks in. And then you can see things that no other person can see.
Life is politics, basically, but you don't just go to a gallery and put the words 'art' and 'politics' on the wall.
When critics or art historians or curators ask me why I still paint, the answer is that I am not naive.
Every painting has a weakness and a breaking point, where the essence of a painting lies. In my case it is never in the centre.
If you ask people to remember a painting and a photograph, their description of the photograph is far more accurate than that of the painting. Strangely enough, there is a physical element intertwined with the painting. It shakes loose an emotional element within the viewer.
You're only as young as the woman you feel.
I gave up language for a while, and I started painting. And then I only listened to Miles Davis and other instrumental music to see how it felt to be without words.
Every path to a new understanding begins in confusion.
I guess there are some rights of parents with what they choose their children to learn, but I'm biased in favor of freeing children to learn and not letting parents be too doctrinaire in indoctrinating their children.