In drawing, I often think of things as flying buttresses.

One hopes that each piece contains enough space for several narratives.

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.

It’s one of my loose theories that Catholicism and art have gone well together because both believe in the physical manifestation of the spiritual world.

I had stopped making figures, and then I began making images of animals in nature, which was a way to introduce the figure.

I'm not moving from an ideological standpoint. Sometimes I'm trying to make my life better. Sometimes I'm trying to make my life worse! I'm trying to find a happy medium that I can make some sense of.

I really love printmaking. It’s like a mystery and you’re trying to figure out how to rein it in.