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.

What's interesting about making art is that you take everything you know about it and you bring it up to that point, and you start making a physical thing that addresses what that is. And when you do it, you don't know anything about it - if it's going to work or not work.

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?

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.

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

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.

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.