There tends to be a sort of mundane quality to what I select - things from around the house, around the studio. I'm not ashamed of the craft shop - the art supply store - and I don't need my work to be anti-art store, but I also believe in using things that are just sort of around - it makes sense to me.

I feel no shame about having paintings be as grandiose and ridiculous as possible.

In terms of my inspirations to become an artist, I think they come from early ideas and impressions about community, and the type of community I wanted to be in, and the type of thinking I wanted to do.

I think a lot of male artists should and probably are thinking in the same ways. The culture has moved in a more democratic, pluralistic direction. You now find a lot of people who are looking outside of the mainstream of the history of art for their mentors. Maybe not heroes, but mentors.

There tends to be a sort of mundane quality to what I select - things from around the house, around the studio. I'm not ashamed of the craft shop - the art supply store - and I don't need my work to be anti-art store, but I also believe in using things that are just sort of around - it makes sense to me.

Co-mingling really disturbs a lot of the purists, who want to see the historical and cultural divides instead of the meshing.

In high school I was good at math and everybody wanted me to do something with that - mathematics or engineering - which was a nightmare scenario for me. Meeting other artists and going to punk rock shows at that age, there was a feeling of freedom and community that I wanted to partake in.