All I know is that mine was a completely new theory about art, a new approach that made the pictures appear just like life does.

Prodigy only feeds on prodigy, fantasy on fantasy.

I couldn't get used to the community and social life of a theatrical set designer.

I call prodigy all that is invented, all that begins to exist from the second it is conceived, it is the process not the results, the principle and not the fruits.

I haven't even ever wanted to distort. I isolate and represent.

I always use given and simple elements, I don't want to add or subtract anything.

An audience is perhaps unnecessary to the soul-searching mystic, but it is vital to the magician, the maker of prodigies.

My themes are derived from current events, from familiar situations, from daily life, because I never actively intervene against the object, I can feel the magic of its presence.

I never tried to stage, to fabricate an image.

I know how pathetically inadequate my medium [painting] is, but unfortunately I dispose of no other.

My life provides me with these images that become expressions of my daily experience.

I had a lot of fun with my costume designer.

I wrote about people who liked fake fireplaces in their parlor, who thought a brass horse with a clock embedded in its flank was wonderful.

I'm not being like, 'Hey, everybody, I'm pregnant!' I'm not that girl.

Actually, New York is great for playing around. I made a lot of studies for New York-a big vacuum cleaner lying on the Battery in Manhattan.

Often how you define the problem will determine whether or not you're able to find a real solution.

History is the product of vast, amorphous and indecipherable social movements.

That is why he is a Warrior of the Light, because he has been through all this and yet has never lost hope of being better than he is.

I don't have a set style, but I try not to dress like everyone else.

Time and the Ocean and some guiding star and High Cabal have made us what we are.