My Work Isn't About Form.

But When I Worked On A Painting I Would Do It From A Drawing But I Would Put Certain Things I Was Fairly Sure I Wanted In The Painting, And Then Collage On The Painting With Printed Dots Or Painted Paper Or Something Before I Really Committed It.

Yeah, You Know, You Like It To Come On Like Gangbusters, But You Get Into Passages That Are Very Interesting And Subtle, And Sometimes Your Original Intent Changes Quite A Bit.

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.

The Big Tradition, I Think, Is Unity. And I Have That In Mind; And With That, You Know, You Could Break All The Traditions- All The Other So-called Rules, Because They Are Stylistic.. And Most Are Not True. As Long As The Marks Are Related To One Another, There Is Unity. Unity In The Work Itself Depends On Unity Of The Artist's Vision.

Picasso's Always Been Such A Huge Influence That I Thought When I Started The Cartoon Paintings That I Was Getting Away From Picasso, And Even My Cartoons Of Picasso Were Done Almost To Rid Myself Of His Influence.