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.

Sometimes my kids might tell me they had a dream or and maybe I'll paint some paintings from their dream. That's one good thing you get from your kids. Rob them of their dreams.

I like when people get really close to the paintings, when they can't really get away from them, I like them to operate in that way on the viewer.

If I hung one of my paintings next to someone else's, I knew mine would kind of pop off the wall.

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.

I see paintings everywhere. I look at stuff and it looks like painting to me.

Many people say to me, "I saw [Miral] and it really stayed with me. I woke up the next day and really thought about it, and have been thinking about it for awhile." That was my goal.