Painting picture by picture, I followed the impressions my eye took in at heightened moments. I painted only memories, adding nothing, no details that I did not see. Hence the simplicity of the paintings, their emptiness.
I try to not get to the point where one is making wallpaper, or simply painting money. I want to make sure that I am at least trying to weigh myself down, that there's a challenge each time.
Around 1980, I went back to painting with a vengeance.
Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.
If I hadn't started painting, I would have raised chickens.
Painting's not important. The important thing is keeping busy.
In a movie, you're raw material, just a hue of some color and the director makes the painting.
Painting self-portraits without clothes on has also given me some publicity.
No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.
With a painting, you don't have to go back and paint it again.
At the point where I'm trying to force something and it's not happening, and I'm getting frustrated with, say, writing a poem, I can go and pick up the brushes and start painting. At the point where the painting seems to not be going anywhere, I go and pick up the guitar.
I feel the need of attaining the maximum of intensity with the minimum of means. It is this which has led me to give my painting a character of even greater bareness.
Every milieu has something ridiculous about it - film-making, the music world, painting - because people who take themselves seriously become funny pretty quickly.
I was not out to paint beautiful pictures; even painting good pictures was not important to me. I wanted only to help the truth burst forth.
Writing requires a great deal of skill, just like painting does. People don't want to learn those skills.