I'm much more interested in landscape painting than in the landscape. I start from a formal aspect. I want to put down a relationship. I try to organize the surface in a way that becomes dramatic, interesting, and can be formally controlled. It doesn't happen all the time, but when it does happen, there is a connection.
Color is an intrinsic element to all formal considerations, but it is also the most mysterious.
It is the part that is the least capable of intellectual control. So it's something about which I know very little, except that I know that I can trust myself on it. Albers talks about that - there has to be a relationship. People are uncomfortable with color. It's not exactly a skill - it's more of a sensibility.