I think that just the nature of art education in schools, it's about packs, you know? Like, we're young wolves running together, creating a consensus. And consensus is antithetical to the art process.

[My twin brother] he was the star artist of the family as we - as we were growing up. He eventually lost interest and went more towards literature and then medicine and then business and so on. But for me it became something that I did well. And it felt great being able to make something look like something.

I actually studied cooking and, like, was thinking about becoming a chef.

Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation.

I think one of the things that I took from Mel [Bochner] specifically was his ability to look at oneself and one's relationship to the history of art and the practice of art at arm's length, the ability to sort of clinically and coldly remove oneself from the picture and to see it simply as a set of rules, habits, systems, moving parts.

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.

The expectations of the viewer are what you're asking about. And the expectations of the viewer are manifold. However, they are very fixed, given who I am in the world. People have certain expectations of me as an artist.