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.

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 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.

I'm a happy, happy person. I laugh. I'm not angry. I'm only disgusted with a few people in the world that I have to see. But I'm not angry at all.

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.

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.

Everything comes from a weird place that I don't understand. I make a piece of art just to prove that I exist in my own way. And I can't make something nice. I have to make something that makes me uncomfortable.