I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.
I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.
I discovered about 150 dots is the minimum number of dots to make a specific recognizable person. You can make something that looks like a head, with fewer dots, but you won't be able to give much information about who it is.
I wanted to translate from one flat surface to another. In fact, my learning disabilities controlled a lot of things. I don't recognize faces, so I'm sure it's what drove me to portraits in the first place.
Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.
Part of the joy of looking at art is getting in sync in some ways with the decision-making process that the artist used and the record that's embedded in the work.
You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
