Any innovation that is evident in my paintings is a direct result of something that happened in the course of making a print.

In the 7th grade, I made a 20-foot long mural of the Lewis and Clark Trail while we were studying that in history because I knew I wasn't going to be able to spit back the names and the dates and all that stuff on a test.

Of all the artists who emerged in the '80s, I think perhaps Cindy Sherman is the most important.

I discovered about 150 dots is the minimum number of dots to make a specific recognizable person. You can make something that looks like a head, with fewer dots, but you won't be able to give much information about who it is.

I'm very learning-disabled, and I think it drove me to what I'm doing.

I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.

I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.