The many layers of my paintings and drawings are a basic part of that search for inner knowledge. In my drawings, I use six different charcoals—the layers upon layers are a way of getting to the point of connection where a couple of strokes finish the work. When that happens, the link between the work and me is literally physical. That total connection is important—in the end, every part of a painting has to work. The color has to seem spontaneous and haphazard, but if you open yourself up, the corners will be as important as the central figures. I learned long ago that the most effortless-looking painting isn’t effortless. Nevertheless, the technique isn’t what matters; it’s just the means of getting there.