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On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.
My paintings do not have a center, but depend on the same amount of interest throughout.
It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement.
I'm very representational some of the time, and a little all of the time. But when you're painting out of your unconscious, figures are bound to emerge.
I have no fear of making changes, destroying the image, etc., because the painting has a life of its own.
I hardly ever stretch the canvas before painting.
I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting.
I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc.
He drove his kind of realism at me so hard I bounced right into nonobjective painting.
Bums are the well-to-do of this day. They didn't have as far to fall.
Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't mean it as a compliment, but it was.
It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
Art is coming face to face with yourself. That's what's wrong with Benton. He came face to face with Michelangelo-- and he lost
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