I was always very... impatient about showing my paintings to people.

The movie [Miral] is not pro-Palestinian. It's about Palestinians. It's a Palestinian story, written by a Palestinian person. I don't know anybody else that could have done that

Can I find a poetic that can be subversive enough to grab people in some subliminal way, to where they feel that they are altered and have had an experience that belonged to them?

Paintings are not like the Internet. They're not like movies. They're not electronic-friendly. You have to go see them. You have to stand in front of them. That's the great thing about them.

It's a great excuse and luxury, having a job and blaming it for your inability to do your own art. When you don't have to work, you are left with the horror of facing your own lack of imagination and your own emptiness. A devastating possibility when finally time is your own.

You can't have a good bullfight without a good bull.

A lot of what I do is about being in the moment and I think that's hard for people to get. I like it when things suddenly affect the painting. I mix up this red and it affects the whole painting or this little bit of white falls down there, and something changes the whole nature of the thing. The residue on what happens, that's what's in the paintings.