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.

I never think about actual things when I'm painting. I'm not thinking, "I'm going to put a person here, a tree here and a bird there." The beginning stage is always the sound. From that, slowly, stories come about based on what I'm reading or thinking at the time, but if I didn't have that sound I don't know what I would do.

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.

My work makes people understand things in a visual way that I could never understand in a literal way - like the way you deal with and break down problems, and don't come up with answers, but [find] a pathway that becomes clearer.

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.

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.