I’ve always tried to define parameters for the drawings or paintings according to some organizing principle. It can be anything from an idea about acoustic space to the color range of a particular pigment. The goal is to construct a picture that is autonomous and at the same time suggests multiple associations or readings.

That’s the tension, that’s where the traction is. Between image and organizing principle.

There is a continual play of opposites in Winters’s work: between outer and inner worlds; between clarity and obscurity; and between traditional painterly expressiveness and postmodern strategies of appropriation and repetition.

The layers, set of marks, and phases of each of Winters’s paintings fold into a single sensation to generate an image as if from inside itself.

Winters conducts experiments in which the material potentialities of the medium in which he is working are tested over and over again.

I see the painting process as a combination of the technical and the magical — invisible forces are generated by the images, and they’re moving.

Winters has, in fact, the visual equivalent of musicality, a quality he shares with our prehistoric graphic ancestors and, more recently, Piet Mondrian, Jackson Pollock, and a few others.

I want to make drawings that are as clear and evident as a photograph.

Winters is one of the preeminent graphic artists of his, or anyone’s, generation... Winters's drawings show the way that information, systems, grids, etc., turn into an image. It’s a large feeling, one that connects us to the undergirding of the physical world.