"The desire to make paintings inspired by the physical characteristics of the support has been the basis of my work since the late 1960’s. At that time, this notion generated what I called "woven" paintings. Canvas strips of various widths were interwoven around square stretchers to form an actual basket weave surface. What amounted to checkerboard configurations early on evolved into large interior square areas "framed" by narrow, interwoven strips around the edges. Some supports in the mid-1970’s were built with these edges beveled to the wall."
"...what the slabs did was allow me to take a center slab that had nothing to do with an outer slab and surprise myself by how these two incongruous pieces worked together. You couldn’t imagine it in your mind, but if you did it physically, you found a place for it that was surprising. It’s like choosing a tie for a man’s shirt."
"...my idea is that geometry is realism because a square or a triangle or a circle is what it is. I think abstraction occurs when I do your portrait; it’s really not you, you’ve become a painting. So, what I’m doing is abstracting your shapes into something else. To me, that’s abstract painting."