There is no purity with regards to the marketplace and art, I believe.

Even the hubris or the desire to go out into the world and find patterns that reflect back to yourself is so Lacanian and, like, mirrored, so as to be ridiculous. But there are very fixed sets of expectations that the world has about this work.

I think what we should concentrate on is what it feels like to be a working artist in the day to day. One doesn't imagine what comes down the line.

So sometimes you have to play your hand and sort of push in a direction. And I think that masculinity is the driving point for a lot of the way that people, like, posture in the work.

I think that at its best you just have to respect each arena for what they can do well.

While it may seem a little mundane, the material realities of realizing the painting actually have a lot to do with how you should read the painting. For example, we assume that what the model is wearing is what we found him in in the streets. No; in fact, a lot of what happens is that in Photoshop certain aspects are being heightened or diminished. There is no actual material truth in these paintings.

[My parents] met in university back in the '70s. And I didn't grow up with my father. He - they separated before I was born.