A picture should be a re-creation of an event rather than an illustration of an object; but there is no tension in the picture unless there is a struggle with the object.
I'm working for myself; what else have I got to work for? How can you work for an audience? What do you imagine an audience would want? I have got nobody to excite except myself, so I am always surprised if anyone likes my work sometimes. I suppose I'm very lucky, of course, to be able to earn my living by something that really absorbs me to try to do, if that is what you call luck.
If I go to the National Gallery and I look at one of the great paintings that excite me there, it's not so much the painting that excites me as that the painting unlocks all kinds of valves of sensation within me which return me to life more violently.
I feel that I am much freer if I'm on my own, but I'm sure that there are a lot of painters who would perhaps be even more inventive if they had people round them... I find that if I am on my own I can allow the paint to dictate to me. So the images that I'm putting down on the canvas dictate the thing to me and it gradually builds up and comes along.
No artist knows in his own lifetime whether what he does will be the slightest good, because it takes at least seventy-five to a hundred years before the thing begins to sort itself out.
Certainly virtue is like precious odors, most fragrant when they are incensed, or crushed: for prosperity doth best discover vice, but adversity doth best discover virtue.
If you want to convey fact, this can only ever be done through a form of distortion. You must distort to transform what is called appearance into image.