You want accuracy, but not representation. If you know how to make the figuration, it doesn't work. Anything you can make, you make by accident. In painting, you have to know what you do, not how, when you do it.
I think that one of the things is that, if you are going to decide to be a painter, you have got to decide that you are not going to be afraid of making a fool of yourself. I think another thing is to be able to find subjects which really absorb you to try and do. I feel that without a subject you automatically go back into decoration because you haven't got the subject which is always eating into you to bring it back - and the greatest art always returns you to the vulnerability of the human situation.
I would by all means have men beware, lest Æsop's pretty fable of the fly that sate [sic] on the pole of a chariot at the Olympic races and said, 'What a dust do I raise,' be verified in them. For so it is that some small observation, and that disturbed sometimes by the instrument, sometimes by the eye, sometimes by the calculation, and which may be owing to some real change in the heaven, raises new heavens and new spheres and circles.