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.

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.

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.

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.

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.

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.