I travel a lot, but I don't come away with new inspiration.

The subject [of Los Angeles] became a general metaphor for anxiety and the speed of modern life.

When you're on a highway, viewing the western U.S. with the mountains and the flatness and the desert and all that, it's very much like my paintings.

There was no hope for any kind of big opportunity. I'm not saying it was hopeless. The big pay-off was to work as an artist and gain some shred of respect from your friends, who were also artists. But there was never any notion that you could make a living out of art. On the rare occasions you had a gallery show, and sold a little work, well, that was just gravy.

My pictures are not that interesting, nor the subject matter. They are simply a collection of facts; my book is more like a collection of Ready-mades.

I believe in intuition and approaching things as instant gratification. Just do the things you want to do, make the kind of pictures you want to make.

Traveling to Europe and traveling in the U.S.A. was a much different experience. 'On the Road' exemplified everything glamorous that was happening on this side of the planet. The book puts off some kind of sweet melody - part hope for the world, part nostalgic.