If you come every day or every month to my studio, you won't see that much change, but if you come once a year, you'll see big new categories opened up.

One of the most important elements of Caio-ness I wanted to keep was that left to right reading, where one form draws you... this movement in what is otherwise a fairly still art, that sense of pulling the eye. It involves a sense of time. To me that's esoteric and magical and playful, and if a painting doesn't have that, to me it's just canvas and paint. If it does have that, then it rises above its materials.

I'm not such an artist type that I can't handle the real world. I read the financial pages, because most people don't talk about art.

If you come every day or every month to my studio, you won't see that much change, but if you come once a year, you'll see big new categories opened up.

I had a visit from an artist friend who basically said, "Your paintings are wonderful. Now stop." It did resonate with me. It hit on the percolating need for change that was already there. I got a little push. I did a group of the paintings early on that were among the best. It was sort of beginner's luck with these.

Most people draw from the mind, not the eye. They draw the idea of a table or a face, not what's in front of them. We don't actually see the line of the jaw as a line and we don't see an eye as a perfectly outlined almond shape.

I try not to bring in anything I don't love looking at. It's about restaint ... There is something about an unfinished quality that leaves within you that sense of possibility.