A lot of what I do in my work is taking a thing and either washing it off, scraping it, covering it, scraping it and then washing it, turning it upside down. Making it somehow blind.

Every painting I've ever done has like 100 paintings under it.

A lot of what I do in my work is taking a thing and either washing it off, scraping it, covering it, scraping it and then washing it, turning it upside down. Making it somehow blind.

I've never read a book on shape. I've read books on gesture; I've read tons of books on color, surface, field, ground, representation, abstraction. But I've never read a book on what a shape is.

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.

I want to expand the question of when something is done. I want to vex the ending. I want to mess around with that. I like the idea that if you make a work that has no clear ending, then you must play with the ending. Because if you don't, you're not highlighting the weird, lovely openness of abstraction.

You can make a beautiful thing, but there's no problem in it. I like the idea of doing a thing, wrecking a thing, questioning a thing to the point where you have pushed it to the edge, and then recuperating it.