I felt like I had reached the end of a period of life, where the work was jumping about and pushing something new every time. I wanted to dial it back and create a language that was stable and deep.

There are things that inform the works, but that doesn't go anywhere near what you're actually looking at.

There are certain times when a painting accelerates beyond you, and you have to try and understand and catch up with it.

The moment is never perfect. It's like that right now - in my head I'm being super lucid, but you never are. You're always fumbling.

The paintings are kind of set in the past, present, and future all at once.

Small thoughts grow into a picture. It may suggest an individual or it may suggest a place, but generally the painting's job is to work that [idea] into an abstract proposition that is completely removed from the starting point.

I'm a quiet person, I'm not a flashy art world person. I'm in the studio in the middle of nowhere. There's sheep and fields. The work has to be authentic in that way.