I have been painting models with black and brown skin only for the past years. So, I did already have this experience, this is how I have come to the paintings I do now.

So much of the hubris that surrounded conceptual art in the 1950s through '70s was that it had this arrogant presupposition that pointing in and of itself was a creative act. It never rigorously politically and socially analyzed the fact that the luxury to point is something that so many people throughout the world don't have.

You know, one of my - one of my best and, I think, most enlightening moments was when I was contacted by Michael Jackson. And he requested that I paint his portrait.

Feudal Europe is over, but it found its way into film culture. It found its way into postmodern painting culture, and we're all here talking about it today. It still lives. I don't believe in ghosts, but these are contemporary ghosts.

In some way they are all self-portraits, but I think I know what you mean by asking this - I would say, it is too idealistic to paint yourself.

I love being able to have a team.

For me, I wanted to create something that's much more driven by a type of selfishness, a type of decadence.