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I started doing sculpture in 1959. I had no commissions then. They were painted, similar in style to the paintings... At a certain point, I decided I didn't want an edge between two colors, I wanted color differences in literal space.

I always felt that a painted edge between two colors was a depiction somehow.

The paintings to me are always canvas; sculpture has always been metal, though I have made sculpture in wood, also.

I have a sort of inner sense for scale.

One of the first drawings I did in Paris - I wasn't thinking of doing drawings, but somehow or other, I kept drawing - I bought a hyacinth flower with a lot of leaves, just to make me feel like spring.

My drawings have to be quick. If they don't happen in 20 minutes or a half hour, then they're no good.

My earliest drawing is a supposed Carracci. It wasn't very expensive, I guess, because they don't know if it's a real Carracci. But it has all these seals on it of people who've owned it, and one of the great portrait painters of England, Reynolds, had owned it, so that's the earliest.

I only like artists older than myself. Time is so important. It's always been the same way, I guess.

I learned my color in Europe. I've always been a colorist, I think. I started when I was very young, being a bird-watcher, fascinated by the bird colors.

I don't like mixed colors that much, like plum color or deep, deep colors that are hard to define.

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