I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
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.
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.
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.
There must be something about art… almost all cultures have done art. It’s a refining of the senses, which are there to keep us alive. As far as we know, no other animals do that.
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 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.
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.
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.
