I don't see those paintings as abstractions, especially because they are emblems of the inkblot. They aren't smashed together; they are constructed shape-by-shape, layer-by-layer, like any other picture.

Artwork operates on two different levels: On one level there's artwork as a mode of expressivity, and then there's the other side, where the image is a construction that is meant to engage in a discursive field in order to preform a particular function.

Comics also led a lot of young people to science fiction.

The appearance is the allusion of abstraction when in fact I am in control of every aspect of that symmetry.

The moment you introduce difference into a museum, then the privileged space is contested, and under the most ideal circumstances what all artists want is the chance to be competitive. That's what I think the museum is supposed to be.

No one has a right to occupy the privileged position all the time, so it should be contested. It should always be messy in there.

I still make paintings and use the figure; it's hard to do and hard to succeed. On some levels, because I am working with black figures and black pigment, it's even harder because I have to be more responsible for the image. I try to be really careful about the presence the figure projects.