I like a canvas to breathe and be alive. Be alive is the point. And, as the limitations are something called pigment and canvas, let's see if I can do it.

I have never been able to understand the artist whose image never changes.

At that point it certainly would be called abstract. That is to say, you had a model and there'd be one or two or three people there drawing the model but otherwise you had abstractions all around the room, even though the model was in front of you.

In the late 30s the name Pollock was totally unknown and unheard of.

I never violate an inner rhythm. I loathe to force anything. I don't know if the inner rhythm is Eastern or Western. I know it is essential for me. I listen to it and I stay with it. I have always been this way. I have regards for the inner voice.

I went into my own black-out period which lasted two or three years where the canvases would simply build up until they'd get like stone and it was always just a gray mess. The image wouldn't emerge, but I worked pretty regularly. I was fighting to find I knew not what, but I could no longer stay with what I had.

I think, if one is a painter, all you experience does come out when you’re painting.

I need to be alone for certain periods of time or I violate my own rhythm.

We get used to a certain kind of colour of form or format, and it's acceptable. And to puncture that is sticking your neck out a bit. And then pretty soon, that's very acceptable.

All my work keeps going like a pendulum it seems to swing back to something I was involved with earlier, or it moves between horizontality and verticality, circularlity, or a composite of them. For me, I suppose, that change is the only constant.

Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.

Painting, for me, when it really 'happens,' is as miraculous as any natural phenomenon - as say, a lettuce leaf. By 'happens,' I mean the painting in which the inner aspect of man and his outer aspects interlock.

One could go on for ever as to whether the paint should be thick or thin, whether to paint the woman or the square, hard-edge or soft, but after a while such questions become a bore. They are merely problems in aesthetics, having only to do with the outer man.

As I say, I as an abstract artist was active politically.

I knew de Kooning and I went to his studio so I knew about de Kooning's work. But only a little handful knew about it, you know. Maybe there were ten people that knew about it.

The key is what is within the artist. The artist can only paint what she or he is about.

People were very affected by the war. But it didn't mean you stopped painting unless you were called into the Army then you just couldn't paint. But otherwise one continued.