Outside is the world; it's there. Pop Art looks out into the world.

We're not living in a school-of-Paris world, you know, and the things we really see in America are like this. It's McDonald's, it's not Le Corbusier.

Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.

Pop Art is industrial painting. I think the meaning of my work is that it is industrial, it's what all the world will soon become. Europe will be the same way, soon, it won't be American; it will be universal.

My work isn't about form. It's about seeing. I'm excited about seeing things, and I'm interested in the way I think other people see things.

What interests me is to paint the kind of antisensitivity that impregnates modern civilization. I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward - neo-Zen and all that. Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.

Color is crucial in painting, but it is very hard to talk about. There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you're trying to make.