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 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.

It's the ultimate conceptual artwork. I took a piece of metal and just painted an image of a stop sign on it - a four-by-four-foot stop sign.

So rather than someone coming to my stu- dio and saying, like, "Thank you for your time. I'll see you later," and me not knowing why they don't like my work, I understand now why they don't like it.

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.

I'm not really that hard-working. We've hung out a lot, and you know that I don't work harder than you. Everyone else is just really lazy. People do half a thing, and then they just go out to lunch.