When you see the holy halo around the holy heads on holy paintings - the halo is a bright light so you can't see the face. The face comes in darkness because it would be too beautiful to see. If there were such a thing as a holy person, a god, with a halo around his head, you wouldn't be able to see his face because the beauty would be terrifying.

I'm purposeless. I'm making art because I want you to look at that painting and I want it to affect you in some way, to change what you see, to change how you see it. To change how you see something, whatever.

Every piece of art will be if it's lucky enough to be dug up, if there's anything to dig up.

The spiritual in my art is giving up control. My paintings are based on what I can do, and what I can do is not controlled. So I give up control, and that's the spiritual aspect of the work - taking what comes and relinquishing control. Although they look very controlled, they're really not, because it's all poured paint.

Painting is an object, but it's also a voice. I don't see them as objects; I see them as voices.

I have my moods, but I can always see something beautiful.

Art as a political gesture is committed to making something beautiful, and then understanding what beauty is in your own time, because what we think of as beauty changes with time. The notion of beauty everywhere changes.