“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.”

I like to pretend that my art has nothing to do with me.

And I dont really want it to carry one. Im not interested in the subject matter to try to teach society anything, or to try to better our world in any way.

I’m never drawing the object itself; I’m only drawing a depiction of the object – a kind of crystallized symbol of it.

There is a relationship between cartooning and people like Mir? and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.

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.

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 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.

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.

Through True Love, she merges with Him. She who does not know her Husband Lord, the Architect of karma, is deluded by falsehood she herself is false.

Each man the architect of his own fate.

A composer is not only an architect but also an inventor, and he should not build houses in which he cannot live.

Why can’t we have those curves and arches that express feeling in design? What is wrong with them? Why has everything got to be vertical, straight, unbending, only at right angles – and functional?

The actual sight of a first-class house that a Negro has built is ten times more potent than pages of discussion about a house that he ought to build, or perhaps could build.

You don’t have to be the victim of your environment. You can also be the architect of it.

The Great Architect of the universe built it of good firm stuff.

Men build society and society builds men.