There are just so many different types of people that come into my studio, and secondarily, there's the idea of ideation, like, "Who are you and what do you see in yourself in this other person?" So many different people that you would see so many different things.

I think the world that I grew up in was like being in this sort of magical artistic garden.

I think it's possible to allow an artist to go beyond his borders and play.

There was no image of the other biological half of myself. And as an artists, as a - as an - as a portraitist, the look of who you are was radically important to me.

I love the flexibility of saying, "Today we're making 50-foot paintings, and we're going to have to join hands and figure out how that's going to work." But in the end, it's a possibility.

My assistants generally do all the flowers and all of the decorative work. I concentrate on the figure.

I grew up in South Central Los Angeles, where people are in cars.