It's more this instinct to get in trouble, and then get myself out of trouble. That's what painting is for me.

In my work, we're not looking at an icon, we're not looking at a sign, we're not looking at a representation. We're looking at something. I do have this feeling of trust that people can read it for themselves.

Who would be an artist that was perfectly happy? Maybe nowadays, but when I grew up in the '60s, you had nobody in the art club who was popular. No cheerleaders in the art club. I was told that I couldn't be a painter by my first painting teacher. I said I wanted to go to Cooper and be an art student, and he said, "You'll be a waitress." It was really the strangely indifferent parenting.

The works have to look like they're confident. But they also have to look sort of troubled. It's this weird thing: "Does that look confident and troubled?" It's a bit like difficult poetry.

That’s the huge problem with an abstract painting. When are you done? You’re done when you don’t want to do it anymore.

It's more this instinct to get in trouble, and then get myself out of trouble. That's what painting is for me.

I made silk screens of my drawings. I could add a drawing that was made with a machine or digitally to a drawing that was made by hand. What I love is that you can't tell how they're made. For some reason, fooling the eye really excites me.