I'm doing what all modern artists do now, which is nothing - just sit around and dream about things. I'll do what they call 'the stroke of genius.'

We believed that there's no such thing as good art or bad art. Art is art. If it's bad, it's something else. It was a much, much harder line in the '50s and '60s than it is now, because the idea of art education didn't exist - they didn't have a fine arts program when I was a kid.

I never do the cute thing with animals; they are interesting shapes. I just use their profile. Because German shepherds are so easily recognizable, they would fall outside my purview.

I paint stupid things; that's what I do. I can't think of anything more boring than a really beautiful thing. You have to mess it up. There has to be something a little kinky to keep their attention.

For me, the heyday was in 1959. It was before the Ferus Gallery moved across the street, in the days when Ed Kienholz and Walter Hopps ran it. At that time, art was taken very seriously in terms of being an artist, and not as a profession.

The art from the East is influenced by nature and touch. That comes from being more attuned to the environment.