One works without thinking how to work.

I often find that having an idea in my head prevents me from doing something else. Working is therefore a way of getting rid of an idea.

The thing is, if you believe in the unconscious - and I do - there's room for all kinds of possibilities that I don't know how you prove one way or another.

Do something, do something to that, and then do something to that.

I think a painting should include more experience than simply intended statement.

I tend to like things that already exist.

I am just trying to find a way to make pictures.

To be an artist you have to give up everything, including the desire to be a good artist.

Everyone is of course free to interpret the work in his own way. I think seeing a picture is one thing and interpreting it is another.

When something is new to us, we treat it as an experience. We feel that our senses are awake and clear. We are alive.

In the place where I was a child, there were no artists and there was no art, so I really didn't know what that meant. I think I thought it meant that I would be in a situation different than the one that I was in.

I never wish for critics.

I don't know how to organise thoughts. I don't know how to have thoughts.

Intention involves such a small fragment of our consciousness and of our mind and of our life.

Most of the power of painting comes through the manipulation of space... but I don't understand that.

As one gets older one sees many more paths that could be taken. Artists sense within their own work that kind of swelling of possibilities, which may seem a freedom or a confusion.

One works without thinking how to work.

I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason.

Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither.

One likes to think that one anticipates changes in the spaces we inhabit, and our ideas about space.

Whatever I do seems artificial and false, to me.

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.

I am not strong on perfection.

I decided that if my work contained what I could identify as a likeness to other work, I would remove it.'

I don't want my work to be an exposure of my feelings.

I was raised in South Carolina; I wasn't aware of any art in South Carolina. There was a minor museum in Charleston, which had nothing of interest in it. It showed local artists, paintings of birds.

My experience of life is that it's very fragmented; certain kinds of things happen, and in another place, a different kind of thing occurs. I would like my work to have some vivid indication of those differences.

Sometime during the mid-50s I said, 'I am an artist.' Before that, for many years, I had said, 'I'm going to be an artist.' Then I went through a change of mind and a change of heart. What made 'going to be an artist' into 'being an artist', was, in part, a spiritual change.

Take an object. Do something to it. Do something else to it.

The only logical thing I can think of is that I knew there were such things as artists, and I knew there were none where I lived. So I knew that to be an artist you had to be somewhere else. And I very much wanted to be somewhere else.

There was very little art in my childhood. I was raised in South Carolina; I wasn't aware of any art in South Carolina. There was a minor museum in Charleston, which had nothing of interest in it. It showed local artists, paintings of birds.

This image of wanting to be an artist - that I would in some way become an artist -was very strong. I knew for a long, long time that that's what I would be. But nothing I ever did seemed to bring me any nearer to the condition of being an artist. And I didn't know how to do it.

To me, self-description is a calamity.

We're all like children. We may think we grow up, but to me, being grown up is death, stopping thinking, trying to find out things, going on learning.

Kind thoughts are rarer than either kind words or deeds. They imply a great deal of thinking about others. This in itself is rare. But they also imply a great deal of thinking about others without the thoughts being criticisms. This is rarer still.

I'm thinking of going to programming school. Learn how to sit down at any computer and learn to do anything on it. That's all I have left and have interest in.

I am aware of changes gradually taking place in my own designs as part of my thinking on this matter.

I'm against fashionable thinking.

I started thinking about my relationship with my students; I'm this guy who comes in from book - and movie - land and descends on angel wings into their classroom.

Americans seem sometimes to believe that if you are a thinker you must be a frowning bore, because thinking is so damn serious.

I don't know, I think, in times where I'm really nervous, and I'm really under the pressure the worst possible outcome is for me to start thinking about it.

For me, writing is a concentrated form of thinking.

I always voted at my party's call, and I never thought of thinking for myself at all.

In thinking about nanotechnology today, what's most important is understanding where it leads, what nanotechnology will look like after we reach the assembler breakthrough.

Conservatism has had from its inception vigorously positive, intellectually rigorous agenda and thinking. That agenda should have in my three pillars: strengthen the economy, strengthen our security, and strengthen our families.

I am a camera with its shutter open, quite passive, recording, not thinking.

All of this got me thinking about the history of the westward expansion, and got me to wondering how the exploration of the Solar System would be changed if there were an indigenous presence out there.

Romance, like the rabbit at the dog track, is the elusive, fake, and never attained reward which, for the benefit and amusement of our masters, keeps us running and thinking in safe circles.

We don't focus as much in schools on educational knowledge which requires thinking and application, as we do on acquiring facts.