Once I started working with the Polaroid, I would take a shot and if that shot was good, then I'd move the model and change the lighting or whatever... slowly sneaking up on what I wanted rather than having to predetermine what it was.

At the same time that I'm finding the color world I want, I'm also trying to make the imagery, you know, by the nature of the strokes themselves.

I can't always reach the image in my mind... almost never, in fact... so that the abstract image I create is not quite there, but it gets to the point where I can leave it.

All the fingerprint paintings are done without a grid.

You can give the same recipe to ten cooks, and some make it come alive, and some make a flat souffle. A system doesn't guarantee anything.

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.

I've always thought that problem-solving is highly overrated and that problem creation is far more interesting.