Margaret Moorman in Columbia Magazine:
While Collins is an unabashed advocate for rigorous classical training, he seems too relaxed and sophisticated to proselytize, and he eschews negativity. “I don’t really want to advertise myself as disaffected,” he says. “It’s not that I didn’t like modernism, but I loved extraordinary draftsmanship. I looked at Hans Holbein and Raphael and Michelangelo, and that’s what I wanted to do so much. If it doesn’t have that classical, underlying, structured draftsmanship, it’s just not what I’m interested in.” He respects some 20th-century painters, especially the abstract expressionists, whose sense of the transformative power of art is close to his own, but “that doesn’t mean that I care about them very much. What happened after that — the irony of postmodernism — is just ridiculous. I don’t care about it at all.