I think style is a fringe benefit that looks like you made it.

We need to not be scared [of muslim], but understand each other. When you're around these people, you see they have much more in common than their differences.

I don't know if I could, like, see a face and know what the face of beauty looks like, but after I've seen it I know if I've felt like it was beauty.

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

I think the nice thing about showing work in New York is that other artists come to see it. When you show work in Switzerland or somewhere else, everywhere else seems to be the provinces in a certain way. You wonder what your paintings are doing on the walls and you wonder who's looking at them.

Sometimes I'll dream that I saw a show and then I'll wake up in the morning and realize that I didn't see the show, that it was my dream. And I just remember what the paintings look like in the dream and I think, "Oh, nobody painted those. I can do that."

There were some types of sanctions that happen in the public world that made my work acceptable, where someone looks at the paintings and they don't - they may go, "okay," and then look at it in a different sort of way. Instead of just looking at it as some type of wild art, they look at it in a historical perspective or context.