I'd never even thought about compromise when I worked in my studio. The major distinction is in the priority of who I ultimately wanted to please: myself or the audience.

I didn't want to make 'high' art, I had no interest in using paint, I wanted to find something that anyone could relate to without knowing about contemporary art. I wasn't thinking in terms of precious prints or archival quality; I didn't want the work to seem like a commodity.

I didn't have any interest in traditional art.

If I knew what the picture was going to be like I wouldn’t make it. It was almost like it was made already – the challenge is more about trying to make what you can’t think of.

I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead.

The still must tease with the promise of a story the viewer of it itches to be told.

I like making images that from a distance seem kind of seductive, colorful, luscious and engaging, and then you realize what you're looking at is something totally opposite. It seems boring to me to pursue the typical idea of beauty, because that is the easiest and the most obvious way to see the world. It's more challenging to look at the other side.