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 have a fairly unwieldy set of concerns that go into determining what I do in the paintings, such as the history of the decorative, patterns of cultural migration, Islamic art and design, Byzantine architecture, the annals of natural history, as well as contemporary painting. All of these things are filtered through my own sense of cultural urgency. How I proceed with the work has to do with how I respond to this instinctively chosen mass of materials. I'm weighing many things and making many decisions before I even get started on a painting.

It's hard to fathom the psychology of the economics of art. I don't quite understand it, and I don't necessarily want to understand it.

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.

What excites me and what I find most compelling is clearly not what excites other artists. It comes from my own idiosyncratic background and what I'm drawn to. Maybe this is a result of having lived in Naples during a formative period of time. I'm interested in telling a unique story in a very intense way.

Ideas in art may be quite evident, and sometimes they're hidden. Sometimes they're simple, and sometimes they're quite complex. Great works of art can be based on very simple ideas, but it's all in the making, isn't it? It's in the facture.