A lot of these angles are really about trying to mimic broadcast sports angles in order to anchor the scene, to sort of normalize it before it becomes abstracted.

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 don't think my work is so strange. It's just a matter of having the discipline to go the whole way with an idea, to stretch it as far as it can go.

A lot of my work has to do with not allowing my characters to have an ego in a way that the stomach doesn't have an ego when it's wanting to throw up. It just does it

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.

[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.