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So what we have tried to do in our later buildings is to try to be completely consistent, as a painter is consistent or as a sculptor is consistent. Architecture also must be very consistent.

What has stayed true all the way through my work is my composition, I hope, and my sense of color.

My paintings are not about what is seen. They are about what is known forever in the mind.

Simultaneous contrast is not just a curious optical phenomenon - it is the very heart of painting.

Art is always an exaggeration in some sense; in color, in form, even in theme, etc... but it has always been this way. It is the same with the nature of some works by Giotto or Massacio, or the color of life as expressed by Van Gogh.

I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.

Knowing how to paint and to use one's colors rightly has not any connection with originality. This originality consists in properly expressing your own impressions.

At first I had some idea that the absence of color made the work more physical. Early on I was very involved with the notion of the painting as an object and tended to attack that idea from different directions.

Originality depends only on the character of the drawing and the vision peculiar to each artist.

In my photography, color and composition are inseparable. I see in color.