The fluent line

Contours and lines relate to each other like skin and heart.

When a drawing and colour go separate ways and yet combine to produce a subject, overlapping of unpredictable appeal arises.

The farther colour is away from the drawing, the closer it gets to the inner shape.

Often, colour cannot fulfil what the line promises.

If the drawing is the skeleton, colour is the flesh.

Paper can act as a stimulant. That is why some paper contains a finished drawing.

If the line appeals to reason, colour speaks to emotion and the irrational.

The essential thing happens not in the head but where the brush touches paper.

Space in between and the life of stains are more important than what is represented.

There are two main reasons for holding onto figurative representation. One is that it sets in motion the engine of associative creativity, and the other is that it makes the viewer believe he is grasping what he is seeing. This helps the essence to penetrate deeper.

Repeated subjects are like mantras: they put us into a state of timeless occurrences.

Focus and lack of focus are just as important as light and shadow.

We suffer from the lack of focus of "historical distance".

A cheerful stroke inspires the soul.

The melody of colours

Only the palette has the freedom of not having to be an image.

Oil paint thickens year by year and sinks into the canvass, creating an incomparable depth of light.

In the age of electronic suns, it is decisive how much light a painting radiates.

When you get stuck while working, you ought to change brushes.

Studying a constantly moving model is fundamental to generating a new understanding of images.

A used palette is similar to a piece of meadow in which colours appear in all sorts of random combinations.

Cleaning the palette is like getting your mind set to a clear idea.

You cannot finish a painting. You can only come to a point of utter vividness and freshness at which you have to stop.

Failing to stop at this point, you will not be able to recover it.

Often, some early piece of work is the beginning of an entire period of development.

Often, it is the unintentional, the spin-off product that is essential for your further work.

There is no self-contained piece of work. Even the seemingly absurdest aberration or digression is related to the "whole".

You need to find the centre of an idea to be able to hold on to it.

We should not forget that there are no two persons whose retinas have identical properties.

If you fail to complete a painting, you need to wait until you have forgotten it entirely.
The platform of "individual shapes" is overcrowded. Therefore, it is necessary to create a new platform that knows no limitation.

Today, the art of painting finds itself in the same situation as the woods. Only, it is not dying of air pollution but of polluted eyesight.

Coloured backgrounds create a harmonious impression and give you an opportunity to work with white straightaway.

The black paint gypsies blend to restore French churches is made of Paris blue and Terra pozzuoli. No other black can match its depth.

From time to time, you pay a visit to the deceased masters' works for them to help you to re-adjust like an instrument out of tune.

In our time and age, the finer is covered by the coarser.

Style is the ignorance of detail.

The still ignorant detail calls itself style.