I like contrasting between black and white and color.

Even though you're reading something, it's as though that person who wrote it is speaking to you. It's a form of conversation, really.

I think my parents - my parents were very hands-off, quite liberal in terms of their - they really - they did encourage me, but they never really pushed me into anything, really.

I didn't like anti-Vietnam War art. I didn't like feminist art. I thought it was heavy-handed and stupid - as art.

I have to say, I'm not someone who's really big into my family history - never really was very curious about it. The only thing I know about it is what I picked up from my aunts and parents.

But if I did read, say, [Maurice] Merleau-Ponty, for instance, it always seemed to me that the parts that I understood in what he was talking about - and I read him because - well, he wrote a book, well, the Phenomenology of Perception [New York: Humanities Press, 1962]. And it seemed to me that perception had a lot do with how we take in art.

The drawings that I show - the drawings that I present to people are finished works in themselves. They're meant to be thought of that way and not necessarily lead to larger pieces or anything like that. And that's the way I work now.