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I don’t think that I’m over his influence but they probably don’t look like Picassos; Picasso himself would probably have thrown up looking at my pictures.

Roy Lichtenstein

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My work isn’t about form. It’s about seeing. I’m excited about seeing things, and I’m interested in the way I think other people see things.
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Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.
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I was at Rutgers University, and that was a center for Fluxus in a way. But it wasn’t what I was interested in.
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I think that most people think painters are kind of ridiculous, you know?
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Outside is the world; it’s there. Pop Art looks out into the world.
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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.
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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.
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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.
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I don’t think that I’m over his influence but they probably don’t look like Picassos; Picasso himself would probably have thrown up looking at my pictures.
ROY LICHTENSTEIN

Influence Look Probably Thinking
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.
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In America the biggest is the best.
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Organized perception is what art is all about.
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Im not really sure what social message my art carries, if any.
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I’m never drawing the object itself; I’m only drawing a depiction of the object – a kind of crystallized symbol of it.
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My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way….
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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.
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