Somebody like Mailer brings to that role everything that he stands for. The types of characters that I gravitate towards, the types of icons, tend to have a heavy physicality in that way.

[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.

An interesting thing happened in 1989, right as I was graduating: the stock market crashed and really changed the landscape of the art world in New York. It made the kind of work I was doing interesting to galleries that wouldn't have normally been interested in it

I'm less interested in skin than in fascia -- connective tissue.

Somebody like Mailer brings to that role everything that he stands for. The types of characters that I gravitate towards, the types of icons, tend to have a heavy physicality in that way.

I have a need to make these sorts of connections literal sometimes, and a vehicle often helps to do that. I have a relationship to car culture. It isn't really about loving cars. It's sort of about needing them.

I think what interests me the most is when the two things are developed at the same time, which certainly feels natural for the way of working when there is no dialogue. You sort of depend on the music to be that, especially when there's lyrics in the music.