Design is meant to grab you and win you over. It is meant to function in a way so as to make life easier. Obviously painting has to do with something quite beyond that. It's not about communication per se. It doesn't necessarily telegraph anything. It's more about understanding who we are and where we come from.

I have been very influenced by the Japanese concept of space - the preciousness of space, and how one's environment can be shaped to make the most out of limited resources. That's the kind of thing we need to look at again - how momentous the results can be from very subtle changes.

For me, the whole idea of the radically new is tied to a close reconsideration of older sources. I like to give myself over to those sources, as points of origin, in order to bring things forward. My approach requires me to internalize my sources as much as possible in the hope that new themes might emerge. The material has to be internalized in order for it to live again. Ultimately, paintings reveal themselves on the basis of what they are. They are inseparable from the physical process that goes into their making.

I'm trying to make a primitive painting. I'm trying to summon the archaic. I want to enter into a primitive situation. This is my protest against the sensory deprivation that we experience, which is due to this tendency towards globalization, towards homogenization, towards the generic - a technological standard rather than an aesthetic standard. I'm mining history, trying to regenerate a pictorial situation that is more humanistic. It's not about commodification, it's not about fitting into some sort of corporate structure. It's opposed to that direction.

I don't understand why a Mark Rothko painting - as much as I love Mark Rothko - has to cost $73 million. I mean, I think $14 million is a pretty reasonable sum of money for a good Rothko painting. What's disturbing about this present moment is that these prices have been so out of control.

There is a tendency in my work toward minimalism, in terms of stripping away the unnecessary. I am seeking a tightly ordered gestalt, usually. I've always felt a strong affinity towards Mondrian's work. I understand the importance of those subtle planar and linear modulations he made in the course of building up the incredible visual tension in his work.

I'm not so interested in this series of ruptures, where minimalism took over pop art, and then neo-expressionism was a triumph over that. I'm not interested in rupture - I'm interested in healing, bringing things together, building bridges. Not dismissing what has come before as a kind of modernist precedent, where one thing has to be broken in order to achieve something else. I don't believe in that kind of attitude. I think we're beyond that at this stage.