I prefer living in color.
The mind is the limit. As long as the mind can envision the fact that you can do something, you can do it, as long as you really believe 100 percent.
I've always wanted to be able to paint the dawn.
A belief is like a guillotine, just as heavy, just as light.
The moment rules over everything.
Like people, trees are all individuals.
I go and see anything that's visually new, any technology that's about picture-making. The technology won't make the pictures different, but someone using it will.
To me, the world's rather beautiful if you look at it. Especially nature.
Spring is very energising to me.
I generally only paint people I know, I'm not a flatterer really.
I'm not antisocial. I like people.
Easel painting means small painting.
I grew up in austerity in the 1940s and 1950s.
I've always felt very English.
I paint what I like, when I like and where I like.
Ultimately, I'm about liberty and I think you have to defend it.
I live wherever I happen to be.
I'm a bit of a propagandist.
I did come from a pretty independent-minded family.
I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.
It's very British to go about to see something unusual and paint it.
I've always been interested in space in pictures. I think my going deaf increased my spatial sense, because I can't get the direction of sound. I feel that I see space very clearly, and that's because I can't hear it. So it's a compensatory thing.
Drawing makes you see things clearer, and clearer and clearer still, until your eyes ache.
I can get excitement watching rain on a puddle. And then I paint it. Now, I admit, there are not too many people who would find that exciting. But I would. And I want life thrilling and rich. And it is. I make sure it is.
I was aware that the teaching of drawing was being stopped almost 30 years ago. And I always said, 'The teaching of drawing is the teaching of looking.' A lot of people don't look very hard.
Being able to draw means being able to put things in believable space. People who don't draw very well can't do that.
When you are older, you realise that everything else is just nothing compared to painting and drawing.
In art, new ways of seeing mean new ways of feeling; you can't divorce the two, as, we are now aware, you cannot have time without space and space without time.
The moment you cheat for the sake of beauty, you know you're an artist.
Modernism in a way, early modernism, for instance, in pictures, was turning against perspective and Europe . And all early modernism is actually from out of Europe, when you think of cubism is African, is looking at Africa, Matisse is looking at the arabesque, Oceania. Europe was the optical projection that had become photography, that had become film, that became television and it conquered the world.
I think photography has made us see the landscape in a very dull way - that's one of its effects. It's not spatial.
The urge to draw must be quite deep within us, because children love to do it.
Just because I'm cheeky, doesn't mean I'm not serious
I'm interested in all kinds of pictures, however they are made, with cameras, with paint brushes, with computers, with anything.
Photography hankers after the condition of the neutral observer. But there can be no such things as a neutral observer. For something to be seen, it must be looked at by somebody, and any true and real depiction must be an account of the experience of that looking.
California is always in my mind.
If you see the world as beautiful, thrilling and mysterious, as I think I do, then you feel quite alive.
The camera can't see space. It sees surfaces. People see space, which is much more interesting.
About shadows: do we see shadows? Loads of people don't. A camera will notice a shadow, but how many people have got a shadow in front of them when they take a picture and don't notice it, and then they see it in the photograph because the photograph will catch the shadow.