I would never make an artwork that I wouldn't want to make forever. Wouldn't you want to make Trash Humpers [Korine's 2009 film] forever?

It's a lifestyle. If you do something good that is worth making, you should make it forever. It's like being a farmer. Just because he makes a gallon of milk doesn't make him stop.

And the cool kids always had a stop sign in their bedroom. Which means: "I don't care if people die. I want my stop sign." At least the assumption was that they took it down from somewhere and now there are old ladies hitting each other head-on somewhere.

I didn't want it to have any technical virtuosity; I wanted it to just be really clear how it was made. For my work in general, it's always really clear how it is made.

I made work specifically for them not to like. If you made paintings of flowers and someone says they hate it, it's like, "What do you mean? It's a flower!" But if you make a painting of your name and somebody says they hate it, it's like, "Well, why would you like a painting of my name anyway?"

It's a stage with four lights clamped to it with walls made out of plywood. And then my name's in the center. It's the type of thing that can be made over and over again. It's not like a Michelangelo sculpture.

It's three disparate elements: the stop sign, the stage paintings, and the skeleton paintings. Those are three sharp ideas, although none of them are necessarily good ideas. Tons of artists have made whole careers out of those three ideas.