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 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.

I make paintings really slowly because I change them and change them and change them and change them and change them. I don't really know how to not do that. I'm not very free in a way. Even though it looks free. But it's not.

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.

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.