I got a little studio in Chicago and practiced. I realized I had to earn some money. So I went to work for an advertising agency where my job was mostly drawing insects for a company that sold an insecticide spray.

I don't do abstract art because I don't find it as interesting as I do subjects and depictions.

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.

The thing about the ray gun is, you pick up anything you see on the street that's the shape of a gun.

Everything I do is completely original-I made it up when I was a kid.

The main reason for the colossal objects is the obvious one, to expand and intensify the presence of the vessel - the object.

Of course, the '60s was a study in decadence. Everything just got worse and worse, and at the end of the '60s, everything was so horrible that people were killing each other.