I Have A Timetable, But No Routine.

Full, Saturated Colours Have An Emotional Significance I Want To Avoid.

I Don't Want Any Colour To Be Noticeable... I Don't Want It To Operate In The Modernist Sense As Colour, Something Independent... Full, Saturated Colours Have An Emotional Significance I Want To Avoid.

The Painting Is Always Done Very Much With [the Model's] Co-operation. The Problem With Painting A Nude, Of Course, Is That It Deepens The Transaction. You Can Scrap A Painting Of Someone's Face And It Imperils The Sitter's Self-esteem Less Than Scrapping A Painting Of The Whole Naked Body.

The Model Should Only Serve The Very Private Function For The Painter Of Providing The Starting Point For His Excitement

I Want Paint To Work As Flesh... My Portraits To Be Of The People, Not Like Them. Not Having A Look Of The Sitter, Being Them ... As Far As I Am Concerned The Paint Is The Person. I Want It To Work For Me Just As Flesh Does.