“You connect yourself to the viewer by by sharing something that is inside of you that connects with something inside of him. All you have as your guide is that you know what moves you.”

“The tools are real. The viewer is real, you, the artist, is real and a part of everything you paint. You connect yourself to the viewer by sharing something that is inside of you that connects with something inside of him. All you have as your guide is that you know what moves you. All you have to do it with is a brush, some chemical and canvas, and technique.”

“I have something to tell you.""How, you have something to tell me?""You have understood me exactly.""Well, I am listening.""Listening? Then, you wish me to tell you?""Yes, that is it. I am listening, and therefore I wish you to tell me.""Shall I tell you now?""No.”

“When I say that life is like an onion, I mean this: if you don't do anything with it, it goes rotten. So far, that's no different from other vegetables. But when an onion goes bad, it can either do it from the inside, or the outside. So sometimes you see one that looks good, but the core is rotten. Other times, you can see a bad spot on it, but if you cut that out, the rest is fine. Tastes sharp, but that's what you paid for, isn't it?”

“You can't put something together again unless you've torn it apart first.”

“There was a sergeant at a desk. I knew he was a sergeant because I recognized the marks on his uniform, and I knew it was a desk because it's always a desk. There's always someone at a desk, except when it's a table that functions as a desk. You sit behind a desk, and everyone knows you're supposed to be there, and that you're doing something that involves your brain. It's an odd, special kind of importance. I think everyone should get a desk; you can sit behind it when you feel like you don't matter.”

“I’ve heard it said: ‘By his home you shall know him’; and we all know that we must pay attention to anyone who reverses the subject and auxiliary verb in his sentence.”