There's nothing shocking inherently about that, given that so much of the way that artists are taught is by copying old master paintings.

I think that gave rise to the type of practice that I - that I do now. I think it was informed by a very Marxist almost "use-value"-driven investigation of painting as agent. These are high-priced luxury goods for wealthy consumers, which are designed to deliver certain communicative effects.

When you're at your best, you're analyzing yourself and becoming increasingly isolated from a broader narrative.

That should be something that an artist can respond to as well in terms of a painting.

You know, I'm incredibly blessed to be able to have this level of choice as an artist today. In this economy, it's something that I, you know, pinch myself at constantly, just thinking about how I could wake up tomorrow and decide I'm going to start painting this or that. So it's good.

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.

Status and class and social anxiety and perhaps social code are all released when you look at paintings of powerful individuals from the past.