I said, I don't want to paint things like Picasso's women and Matisse's odalisques lying on couches with pillows. I don't want to paint people. I want to paint something I have never seen before. I don't want to make what I'm looking at. I want the fragments.
From Ellsworth Kelly
I don't labor over my drawings. I want to get freedom in the line.
I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.
One of the first drawings I did in Paris - I wasn't thinking of doing drawings, but somehow or other, I kept drawing - I bought a hyacinth flower with a lot of leaves, just to make me feel like spring.
I did not want windows, only skylights. I chose my painting wall as it has the best morning light.
The negative is just as important as the positive.
My forms are geometric, but they don't interact in a geometric sense. They're just forms that exist everywhere, even if you don't see them.
Geometry is moribund. I want a lilt and joy to art.
I started doing sculpture in 1959. I had no commissions then. They were painted, similar in style to the paintings... At a certain point, I decided I didn't want an edge between two colors, I wanted color differences in literal space.
I always felt that a painted edge between two colors was a depiction somehow.
6 perspectives
3 perspectives
2 perspectives
1 perspectives