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.

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.

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.

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.

It's more this instinct to get in trouble, and then get myself out of trouble. That's what painting is for me.

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