I like to zoom out of the situation so I can see it all and don't get caught up in the little things down there.

People quickly look through things and don't sit and experience. That's a problem with artwork, [because] it's more of an experience than something to quickly look at. It takes a while for everything to unveil itself.

As I work day after day, inspirations from different places go into the work. It's combination, but it's also comparative. I'll be reading two books at the same time that are totally different [and] then have two stories mix together.

Say someone tells me their name - that name can turn into a taste or a color and that's how I categorize it in my mind. It's an easy way of categorizing things.

I like to zoom out of the situation so I can see it all and don't get caught up in the little things down there.

When I was taking art history I was always angry that we would skip certain chapters because "it wasn't important." Like, "Let's skip over the Japanese. Let's just get to Giotto, because that's where everything begins." It's like, no. Everything is relevant to me.

I sometimes say the conflict in the work is the conflict of my own thoughts and anxieties. It's a civil war in my head. The top part [of my artwork] is you letting go and floating. You become part of the air and you've tapped into the heartbeat of the universe. I guess that's what people do when they meditate.