All accidents and experiments, and discoveries, are what my work is about. The problem that I have as an artist is being way too critical.

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.

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.

Being bad. Discomfort with your body. Bad self image. All those things turn you into an artist. The same things that keep you from being in a proper marriage.

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.

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.

All accidents and experiments, and discoveries, are what my work is about. The problem that I have as an artist is being way too critical.