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People who put my paintings on their walls are putting their values on their walls: faith, family, home, a simpler way of living, the beauty of nature, quiet, tranquillity, peace, joy, hope. They beckon you into this world that provides an alternative to your nightly news broadcast.

The four walls of paper are like a prison because every idea wants to spring out in all directions - everything is connected with everything else, sometimes more than others.

The walls are raised against honest men in civic life.

In aristocratic societies, rich people used to commission exquisite paintings for their walls.

My office walls are covered with autographs of famous writers - it's what my children call my 'dead author wall.' I have signatures from Mark Twain, Earnest Hemingway, Jack London, Harriett Beecher Stowe, Pearl Buck, Charles Dickens, Rudyard Kipling, Alfred, Lord Tennyson, to name a few.

Everywhere you look, there's a hunger to put the ethos by which Wall Street thrives on trial.

I don't have many walls that I put up.

Part of the gestation of 'The Wall' was this business of alienation from the audience, and so the interesting thing was, what 'The Wall' eventually became was something that absolutely engaged the audience.

You don't build walls; you build bridges between people.