What I try to do is reinvigorate strategies and clichés I find in Hollywood movies. At a certain point I had these huge folders, each one classified according to subject matter or genre: people with guns, people kissing, Indians and cowboys falling off horses, getting shot, getting shot with arrows - almost every plot device. Then I cropped the cheap, recycled imagery to give exhausted images new meaning, or at least something other than their original meaning. I'm basically reassembling atoms to give them a meaning that's more au courant.

I was always interested in language. I thought, why not? If a painting, by the normal definition of the term, is paint on canvas, why can't it be painted words on canvas?

Look at the subject as if you have never seen it before. Examine it from every side. Draw its outline with your eyes or in the air with your hands, and saturate yourself with it.

I can't imagine a life without thinking, doing art. I don't feel any need to be a world traveler or an adventurer. I'm very happy doing what I'm doing. I think somehow I know that I should have a larger vision of art, but I can't think of what that would be.

The idea was to take fine art and put it into the location of the movie scripts. The script itself is collage - some of the lines come from actual movies and I've written others to make the text work with the found image. In this way, the details of old dead guys' paintings (from the collection of the Städel Museum in Frankfurt, where this work will be exhibited in relation to the historical paintings) become illustrations of the movie scripts. I found this mélange of high art and Hollywood amusing.

The idea of vaudeville clowns and court jesters is always to show the flaw, to point out what's not working and why it's not coherent.

I go back and forth between wanting to be abundantly simple and maddeningly complex.