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.
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.
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 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.
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.
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.
