"I will easily spend an hour or more just mixing color. Muddy, lazy color drives me crazy. As a painter, the variables are so few. Color is one of those things that is always in play.
I used to be a more freewheeling, sloppy colorist until I worked for
Jeff Koons on his color-mixing table. We would be given a swatch and
asked to match it perfectly. You could spend three hours preparing a
color that would be used to paint a shadow on a cheek or a Cheerio. They
were so strict; it was like basic training. I learned a lot about
deliberately mixing oil paint.
"In some ways, you can tell everything about a painter from how they
deal with the edges where colors meet. If you think about Raoul de
Keyser, Wesley, Morandi, Piero, Manet, or Picasso, you see that the real
character of the painting is in the edge. Like in Morandi, there is a
kind of trembling line.
"I like that painting is inherently fictional. I have always been
interested in the decisions painters make within that space — the kind
of experience they create."
read the whole interview here