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.

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.

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.

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.

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 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.

At some point, I get a weird feeling, and that's when I know it's done. I probably ruin a lot of really perfectly fine things. So part of working on paper, and trying to work really fast, is to see if I can expand the area of not being driven by taste. Not saying, "This looks good, I'll stop."