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.

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.

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

Everything I've seen becomes real once it becomes memory. The films I've seen are interchangeable with things that have really happened to me.

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