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 think I was very lucky to have grown up with an artist's studio in the house. It was a kind of life that was possible. Yeah, it made it kind of harder because the standards were higher, but there was no pressure.

For me becoming a painter was an Everest, in terms of what I thought a painter was. There are many roads to becoming an artist. For me it wasn't art school. I didn't have that go to art school and then get a gallery. It's more like, how deep is your inner library to cull from. It's certainly not about technical prowess, just about depth of investigation. It takes time. I had 15 years of painting under my belt before my first New York show. I was glad to have that. It's a good thing to spend your twenties getting your craft.

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.

All my siblings became artists. One's a novelist, my brother is a painter, my sister was a costume designer.

It's not until the very last phase that you know how good the works are going to be.

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.