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.

I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial.

My direction is very anti-contemplative. If you thought I was for commercial products, you'd think there was no irony. The irony isn't meant to be an ironic comment on our society, exactly.

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.

My use of evenly repeated dots and diagonal lines and uninflected color areas suggest that my work is right where it is, right on the canvas, definitely not a window into the world.

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.

Use the worst colour you can find in each place - it usually is the best.