studio note

The eraser is the best drawing tool.

studio note

Years ago, after I described the way I paint to one of my art teachers (Jeff Fulmer) he asked me, "Is that art, or art therapy?"

studio note

Usually, the painting becomes what it will, like it has a life of its own. The painter only struggles to let it be.

I tried to obliterate the skull - to force the painting in a different direction - but it wasn't ready to go. I've given in and decided to let it be.

studio note

This way of working produces in me the tendency to undo and eradicate, which is not a bad thing.

studio note

The sequential way I am presenting these states tempts me to try to tell a story with them, but I have an abhorrence of narrative in painting. A painting should have a presence - a being. Seeing a painting for the first time should be more like meeting a person than reading a person's biography.

studio note

I paint very fast.

studio note

Working this way removes all fear of trying anything.

studio note

Here is a way of painting with absolute immediacy: paint with no intention of ending up with a painting - paint with every intention of painting over or obliterating the work you've done thus far. It is like a sand mandala - embracing the transient character of material things while showing forth the eternal character of the spirit.

studio note

It becomes unimportant whether or not I like my painting. The point is to act - not to produce. The point is to paint.

studio note

Whenever one paints, one is constantly painting over what one has painted. Usually, all that is seen is the final state when the painting has been given up.