[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.

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 went back to my mother's house recently and I saw some of my earlier works as a 15-year-old art student. And a lot of them were reiterations of classic works.

Portraiture is something that we're all drawn to. I think primarily other forms - we prefer, by and large, to look at human beings than a bowl of fruit.

One of my most strong memories was studying with Mel Bochner, one of the, I think, high water marks of American conceptual art.

This is - it's a sociological experiment in many ways. And so you're seeing the results of what happens when you put a lot of boys in a room looking at art history.

The backgrounds by design are a very key part of the conversation, because I want a kind of fight or pressure to exist between the figure and the background.