“Once the object has been constructed, I have a tendency to rediscover in it, transformed and displaced, images, impressions, facts which have deeply moved me (often without my knowing it).”

The more you fail, the more you succeed. It is only when everything is lost and – instead of giving up – you go on, that you experience the momentary prospect of some slight progress. Suddenly you have the feeling – be it an illusion or not – that something new has opened up.

When I see a head from a great distance, it ceases to be a sphere and becomes an extreme confusion falling down into the abyss.

The form is always the measure of the obsession.

It was always disappointing to see that what I could really master in terms of form boiled down to so little.

All I can do will only ever be a faint image of what I see and my success will always be less than my failure or perhaps equal to the failure.

That’s the terrible thing: the more one works on a picture, the more impossible it becomes to finish it.

The human face is as strange to me as a countenance, which, the more one looks at it, the more it closes itself off and escapes by the steps of unknown stairways.

Art is the residue of vision.

Whores are the most honest girls. They present the bill right away.

Only reality interests me now and I know I could spend the rest of my life in copying a chair.

The object of art is not to reproduce reality, but to create a reality of the same intensity.

In a fire, between a Rembrandt and a cat, I would save the cat.

The more I work, the more I see things differently, that is, everything gains in grandeur every day, becomes more and more unknown, more and more beautiful. The closer I come, the grander it is, the more remote it is.

When you look at art made by other people, you see what you need to see in it.

I don’t know who I am or who I was. I know it less than ever. I do and I don’t identify myself with myself. Everything is totally contradictory, but maybe I have remained exactly as I was as a small boy of twelve.

I paint and sculpt to get a grip on reality… to protect myself.

I dress for the image. Not for myself, not for the public, not for fashion, not for men.

Haunted by wrong turns and roads not taken, we pursue images perceived as new but whose providence dates to the dim dramas of childhood, which are themselves but ripples of consequence echoing down the generations.

The reason that I keep writing is that all my most powerful messages about the fates of wild places that I care about need to have words as well as images

I don’t like people looking at someone else’s image.

It is bad enough to be condemned to drag around this image in which nature has imprisoned me.

I like to think that the Grand Prix helped Long Beach to pretty much change its image.

Nature is but an image of wisdom, the last thing of the soul; nature being a thing which doth only do, but not know.

I’ll never try to put on a fake image. I’m just Zac.