If you are working, almost like with layers of the Grand Canyon, there's history within those layers.

Soap, a cleaning product, can be made from decay.

It should be not only a synergy, but a complicity between the viewer and the artist, and so I'm wide open to that.

The longer they hang out, the deeper the history, the richer the life. If you use that as a template or as a way of realizing things, then I don't think you can go wrong.

I started making work, and it's like, yes you are calling out all of these things that are part of your memory, your body's memory, things that have gone through your pores, what you've seen, what you've experienced, and you spill them out without thinking. I don't think so much about, "Okay, I'm going to make work, and it's going to be about this." It's just going to come out.

If you imagine my studio floor, you can just keep picking it up and getting masterpieces.

Why should you be bogged down with my titles and how I thought about it and my poetic reasoning? No, that's not necessary. Either you're going to be drawn into it [or not]. It's a black hole; gravity should pull you in and you should have that experience.