“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 think one-point and two-point perspective is how the world actually looks, but of course, it isn’t. It’s a convention.

Personally, I feel that in my own work I wanted to look programmed or impersonal but I don’t really believe I am being impersonal when I do it. And I don’t think you could do this.

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.

I don’t really know what to make of it. There’s something terribly brittle about it. 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.

I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.

I kind of do the drawing with the painting in mind, but it’s very hard to guess at a size or a color and the colors around it and what it will really look like. It’s only a guess at the beginning, and then I try to refine it.

When I met Steve Kaufman, I thought he was Gene Simmons, but what an artist talent he is. He will be an art force in the art world to deal with.

All my art is in some way about other art, even if the other art is cartoons.

A number of artists have done things with Mickey Mouse – including Claes Oldenburg and Andy Warhol. He’s such an American symbol, and such an anti-art symbol.

I think that most people think painters are kind of ridiculous, you know?

But usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.

The things that I have apparently parodied I actually admire.

I was at Rutgers University, and that was a center for Fluxus in a way. But it wasn’t what I was interested in.

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.

Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist.

Im interested in what would normally be considered the worst aspects of commercial art.

They do what they do for money – that’s all. I don’t even know why you’re listening to me. I’ve done commercials for both Coke and Pepsi. Truth is, I can’t even taste the difference, but Pepsi paid me last, so there it is.

I wasn’t allowed to do commercials. I wasn’t allowed to do TV series. I wasn’t allowed to do soaps or basically anything that would mean I missed too much school.

I think that music is still art, even if it’s commercialised.

People read things into my commercials that don’t even exist.

Commercials capture your attention, that’s all.

Music can save people, but it can’t in the commercial way it’s being used. It’s just too much. It’s pollution.

We put a lot more value, or at least I personally put a lot more value, on the creative values and creative challenges of something than the commercial necessities.

In TV, and in particular in commercials, you don’t really need to explain very much at all.