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.

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.

It doesn't matter what I think I am, it matters what I do.

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.

Some people might think that the paintings are involved with a mythic - not just subject matter - but a certain sort of physical space that the paintings occupy...like personages.

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.

There are generations of people who have never seen a big plate painting in person. And they don't know what the hell they look like, they don't know what it feels like to stand in a room with them.