The secret to so many artists living so long is that every painting is a new adventure. So, you see, they're always looking ahead to something new and exciting. The secret is not to look back.

Why talk when you can paint?

I am really fond of drawing, painting mehendi, so I would draw mehendi on a groom's hand and earn money.

It's dangerous that we can all paint a completely false picture of ourselves.

Photography, painting or poetry - those are just extensions of me, how I perceive things; they are my way of communicating.

When I was painting portraits and - shall we say? - rather allegorical heads, which is the figurative work which immediately preceded the direction I have since gone, these images were always of a very fixed, rigid quality, and, of course, my work still has this aspect.

The painting has a life of its own. I try to let it come through.

I just happen to like ordinary things. When I paint them, I don't try to make them extraordinary. I just try to paint them ordinary-ordinary.

I paint abstract expressions.

Painting is silent poetry, and poetry is painting that speaks.

I could paint for a hundred years, a thousand years without stopping and I would still feel as though I knew nothing.

I've been working in sculpture and painting since 1920.

My grandmother was fond of painting and playing the piano. She had been given lessons by Emmanuel Chabrier, who used to spend the summer months in nearby Membrolle.

I acquired quite a lot of technical skill and got quite a long way with my painting, but I never felt I was doing what New Zealand was about with my paint.

The animation of the canvas is one of the hardest problems of painting.

If you scratch a great photograph, you find two things; a painting and a photograph.

When I started to do these Pop paintings seriously, I used all these other paintings - the abstract ones - as mats. I was painting in the bedroom, and I put them on the floor so I wouldn't get paint on the floor. They got destroyed.

The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.

I think photography is closest to writing, not painting. It's closest to writing because you are using this machine to convey an idea. The image shouldn't need a caption; it should already convey an idea.

Let's face it: I paint well. I know it, you know it. There's no arguing really, is there?