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I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back.

When you're on a highway, viewing the western U.S. with the mountains and the flatness and the desert and all that, it's very much like my paintings.

I look at my paintings for a very long time before letting them out of my studio. I like to get on the treadmill and look around at all of my paintings while I exercise. I try to stare them down to make them reveal their weaknesses. If they reveal weaknesses, they get repainted.

What I wish to show when I paint is the way I see things with my eyes and in my heart.

In classical oil painting, there seemed to be a radical turn to seeing things as the camera sees them, with that technological modification. I began to have a tremendous problem with all of this.

I always feel the desire to look for the extraordinary in ordinary things; to suggest, not to impose, to leave always a slight touch of mystery in my paintings.

I want my paintings to look like they were found in a garage. If they get a scratch or a hole in them, it just becomes part of the painting.

Painting is an illusion, a piece of magic, so what you see is not what you see.

Now, I love painting. I love looking. I love the fact that they don't move. They constantly change with the light. They are sort of patient.