I've tried to decentralize and interpenetrate so that all parts of a painting are of related value.

An artist must find his expression closely linked to his individual experience or else follow in the old grooves resulting in lifeless forms.

We have tried to fit man into abstraction, but he does not fit.

White lines in movement symbolize a unifying idea which flows through the compartmented units of life bringing the consciousness of a larger relativity.

Problems are an important part of maturing--meet them straight on. Work them out. It's like the chick in the egg. It has to break through the eggshell on its own. That's how it gains its first strength. If you break the shell for the chick, you end up with a puny little runt.

The search for an equilibrium is essential for the artist, to be as aware of inner space as he is of outer space.

There has been 32 isms since the advent of cubism, yet after all there are essentially the same two old strings, the Romantic and the Classical. We've just be confused by the storm. Science and psychology have played a great part to say nothing of sex.

I believe that painting should come through the avenues of meditation rather than the canals of action.

The Cubists used the figure, but they broke it up.

According to one critic, my works looked like scraped billboards. I went to look at the billboards and decided that more billboards should be scraped.

I am accused often of too much experimentation.., but what else should I do when all other factors of man are in the same condition. I thrust forward into space as science and the rest do.

Don't help the young too much — it will just weaken them and they'll resent it, and finally start avoiding you.