When studio art started being seen as important, I joined Colab, and then I became very involved.

My support system is simple - people and time. The miracle of other people in your life.

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

I got into animals by drawing hair follicles. I liked drawing hair, and from that I got into feathers and fur, then into images of animals. The patterning is the same, but the proportions of the body change from one animal to the next. A lot of it is just geometry and consciousness.

Prior to my father's death, I was having a hard time committing to a career as an artist, but that's not because of who he was - it was because of who I am. It's true, though, that I felt I shouldn't compete with him, and that those feelings went away after he died.

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

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