I think there's something important in going against the grain, and perhaps finding value in things that aren't necessarily institutionally recognized.

I believe the artist is capable of contributing to the broader evolution of culture in all of its dimensions.

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.

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

I suppose in the end what shift occurred - is that at Yale I began to become more materially and conceptually aware of the mechanisms that gave rise to those types of patterns and paintings. And so the copying that happened in the childhood was a much more conscious type of copying in later years.

As a twin, I operate with twin desires.

I think that artists provide questions, not answers. We provide provocations rather than fully formed objects.