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.

When art is really great, it's really powerful, can really do something to you, make you feel more alive and make you feel more connected to something. If you don't feel like that when you do it, and you just make a movie to make money, that would be pretty boring to me. I just wouldn't do it. That would be like sitting in an office, which I don't want to do.

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.

I think it's your own ghost, seeing the work and just thinking if it will be okay to leave that around.

Maybe my work looks a little crazy, a little insane, but I don't really see myself as a crazy artist or a shaman artist.

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.

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."