Art has to maintain as large a space for interpretation as possible, and to protect itself from being too narrow.

When I think about the reference to baroque, I'm most interested in how art was integrated into domestic life. That's why I like fresco, because fresco is part of the wall. It's art, but it's decoration at the same time.

I'm interested in making works for museums in a way that make the space feel domestic, and I'm always thinking about how this work will be part of someone's daily life.

A lot of my work deals with this emotion of discouragement or fear, and this emotion cannot be approached without humor because then things become indigestible. You don't want to eat them; you don't want to be in contact with them.

I'm spending a lot of time in the Palazzo and in the museums. I'm printing [pictures that I take] and making a binder with a mix of internet research and palazzo research that I'm planning to use for the upcoming works.

I know that Instagram belongs to Facebook, so I cannot really stand on a political pedestal and say, "I'm against Facebook!" But I haven't wanted to be on Facebook from the beginning.

The political cartoon, in a way, is one of the highest forms of expression about our times. I don't believe in dramatic statements when it comes to political critique. It doesn't communicate in a way that's subversive enough.