I am preoccupied with the possibility of creating art which functions in a public situation without compromising its private character of being antiheroic, antimonumental, antiabstract, and antigeneral. The paradox is intensified by the use on a grand scale of small-scale subjects known from intimate situations--an approach which tends in turn to reduce the scale of the real landscape to imaginary dimensions.

I think the Freudian impulse is in everything, so I just accept it. I don't always believe what Freud is saying but it sounds like fun.

For a thorough use of ice cream cones, buy two; eat one and drop the other.

Andy [Warhol] was on the scene, but he wasn't an artist at first; he was more an illustrator. He was always surrounded by about ten people who worshipped him. He'd go to a party and they would all come along. But he was drawing shoes and that sort of thing.

My work doesn't have the same rules as, say, Andy [Warhol]'s work. But it's gathered together for the simple reason that we all worked with the images and objects around us.

My mother warned me to avoid things colored red.

The sexual is part of everything, and it's highly formalized. I hadn't done figure for a long time. And I thought to myself, "Why not the erotic figure?"