I don't think the meaning in my paintings comes from just using broken dishes.

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 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.

I'm not saying I'm the only Jewish person who cares about Palestinian people, but unfortunately, their voices are not necessarily heard as loudly as they should be.

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.

My compulsion is to create things.

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.