I had an amazing instructor, Joseph Gotto , who, as a painter, spoke to me as it - he didn't condescend.

What's great about it is that painting doesn't move. And so in the 21st century, when we're used to clicking and browsing and having constant choice, painting simply sits there silently and begs you to notice the smallest of detail.

What's interesting about my project recently is that I'm going out into broader global spaces but then isolating at the same time - sort of pushing out but then pulling in.

I'm fully capable of multitasking certain conceptual concerns within the work.

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

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

When the fat lady comes out to sing, we don't know how she feels that day. We don't know if she's suffering from a cold or is mourning a death or falling in love. We don't know. But so all of that chance is the performance.