To finish a work? To finish a picture? What nonsense! To finish it means to be through with it, to kill it, to rid it of its soul, to give it its final blow the coup de grace for the painter as well as for the picture.

My brother liked sewing and sculpting and making things, and my sister sewed and painted and cooked and baked. She's a professional baker now and makes the most gorgeous sculpture-like cakes. She's the queen of wedding cakes in the Lake Tahoe area.

When I was 17, I had my first proper girlfriend, and on Valentine's Day, I painted a canvas of her, bought her a massage, put flowers on the stairs, and ran a bath.

If there were only one truth, you couldn't paint a hundred canvases on the same theme.

I trust Winsor and Newton and I paint directly upon it.

The more you travel, the better you get at it. It sounds silly, but with experience you learn how to pack the right way. I remember one of my first trips abroad, travelling around Europe by rail, fresh out of high school. I brought all these books with me and a paint set. I really had too much stuff, so I've learnt to be more economical.

I'm a painter, really. To be successful, you have to go to Hollywood, and I didn't like to travel.

I started making work that I assumed would be far too garish, far too decadent, far too black for the world to care about. I, to this day, am thankful to whatever force there is out there that allows me to get away with painting the stories of people like me.

My mother was a piano teacher, my father an inventor. He invented the reflective paint they still use on airstrips. They had faith in my ambition, and I think that made all the difference.

My painting teacher in high school used to say, 'I can't paint like I want to, but through practice I'll get better.' But I don't think that's true. I think sometimes you just can't paint.

It was my family that wanted me to be a teacher. That was safe, you see. To be a painter was terrible.

I was a hyperactive kid, and it took awhile for me to find the right teacher. My master was a Shaolin kung fu teacher, but he also taught tai chi, Chinese medicine, brush painting - he was adept at all facets of Chinese culture.

I was inspired by many teachers when I started my channel, Bob Ross being one of them. His voice was so soothing, almost like hypnosis. He was that great of a teacher, even the casual viewer could learn how to paint from watching his show. Growing up, I just remember him being so mesmerizing on screen.

I've done everything from cater, wait tables, pre-school teacher, painting, to being Cinderella, Elmo, a clown, nanny, selling hair... I would do kid's parties and entertain and do magic and paint faces and balloon animals. The highlight of my life.

At art school, a teacher said: 'The best paintings are when you get lost in a piece of work and start painting in a stream of consciousness.' I wanted to do music, not art, so started writing lyrics that way. The first song I wrote was called 'Ice Cream and Wafers.' The next was 'Holding Back the Years.'

It is no use painting the foot of the tree white, the strength of the bark cries out from beneath the paint.

When I was a kid, the idea of gettin' paid to paint your face... listen, I grew up in Ossining, New York, a nice little town by the Hudson, and nothin' ever interested me except being your usual high school big shot, which I was an' loved it, played all the sports and goofed around, always out on the street with the guys, everything was funny t'me.

But, after all, the aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live.

The hard part is how to plan a picture so as to give to others what has happened to you. To render in paint an experience, to suggest the sense of light and color, of air and space.

I started doing sculpture in 1959. I had no commissions then. They were painted, similar in style to the paintings... At a certain point, I decided I didn't want an edge between two colors, I wanted color differences in literal space.

In my earlier paintings, I wanted the space between the picture plane and the spectator to be active.

To me, a painter, if not the most useful, is the least harmful member of our society.

I've always been a bit of a mix between art and technology. I used to paint a lot, but I'm not very good with my hands. It has always been a fusion between my computer gaming interests and being exposed to the rich data of society that we live in.

I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.