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I work in colour sometimes, but I guess the images I most connect to, historically speaking, are in black and white. I see more in black and white - I like the abstraction of it.

Black and white are the colors of photography. To me they symbolize the alternatives of hope and despair to which mankind is forever subjected.

I don't see the world completely in black and white. Sometimes I do.

Everything is not black-and-white. I'm really interested in the gray area - not justifying it, not glorifying it, not condoning it, but at least having people see there's a genesis for every event in our lives. There's some divine order to it, whether it's ugly or beautiful.

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.

Human nature is not black and white but black and grey.

If everything isn't black and white, I say, 'Why the hell not?'

I'm not an abstract artist; I leave that to others. To me, abstract art ended with Kazimir Malevich's 'Black Square.' To continue it is senseless.

Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.

The artist must ask you to think of the world in a different way, and sometimes it's a more abstract way; sometimes it's a completely different kind of colouring.