I think that truth is stranger than fiction, and it's nice to know the people you're making a movie about.

You seem to make different concessions with yourself about what you want to focus on or not, and what you want to pay attention to.

I don't like building, I'm not a carpenter, I don't like constructions particularly and things like that, but placements and the kinds of psychological weight that different materials have is pretty interesting to me.

I wanted to show painting paintings first, then the plate paintings; now I can show that I've sort of freed myself from stylistic inhibitions.

The thing about living in New York is that there are other artists; that is the most difficult, I think they are the hardest critics.

I want the paintings to take me or the viewer out somewhere else.

My early paintings weren't that good - I was very influenced by Francis Bacon. But there was a kind of intensity there. And however influenced they may have been by other people, even my earliest paintings were recognisably my own.