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.

Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.

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.

I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.

My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way.... People mistake the character of line for the character of art. But it's really the position of line that's important, or the position of anything, any contrast, not the character of it.

I was at Rutgers University, and that was a center for Fluxus in a way. But it wasn't what I was interested in. All of it had an impact - as did happenings - because I could see that art was changing from expressionism, which I was doing at the time, or thought I was doing. But it wasn't the direction I really wanted to go.