Ellsworth Kelly

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.

I always felt that a painted edge between two colors was a depiction somehow.

The paintings to me are always canvas; sculpture has always been metal, though I have made sculpture in wood, also.

I have a sort of inner sense for scale.

One of the first drawings I did in Paris - I wasn't thinking of doing drawings, but somehow or other, I kept drawing - I bought a hyacinth flower with a lot of leaves, just to make me feel like spring.

My drawings have to be quick. If they don't happen in 20 minutes or a half hour, then they're no good.

I only like artists older than myself. Time is so important. It's always been the same way, I guess.

I learned my color in Europe. I've always been a colorist, I think. I started when I was very young, being a bird-watcher, fascinated by the bird colors.

I don't like mixed colors that much, like plum color or deep, deep colors that are hard to define.

I've always wanted... I wanted to give people joy.

I just feel like I can live on. I hope I can reach 100. I think today if you just keep doing, keep working, that - maybe that's possible.

I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.

I don't labor over my drawings. I want to get freedom in the line.

All my work begins with drawings.

In Boston, I developed my eye from the drawing. In Paris, I was fascinated by what my eye saw in the way that Paris is built, its 'measure.'

Geometry is moribund. I want a lilt and joy to art.