I didn't start to be an artist myself until I was 24.

You start with a generic body, but I think the first wall you hit with portraiture is comprised of history and storytelling and the nature of characters - whether they are historical or coming from literature or documentation. Those are the references we have to people, besides your family, and the intimacy of portraiture is in the specifics of individuals. For me, it came out of doing things about animals.

Life changes a lot. I guarantee you.

I'm peripheral in Colab's history because others were involved in media, filmmaking, and music, and I was always a studio artist.

Prints mimic what we are as humans: we are all the same and yet every one is different. I think there's a spiritual power in repetition, a devotional quality, like saying rosaries.

You can have fantasies about having control over the world, but I know I can barely control my kitchen sink. That is the grace I'm given. Because when one can control things, one is limited to one's own vision.

The point of art is that it always has the necessity to expand because people are inherently expanding.