I work with deadlines. It is terrible to be an artist where you are just producing work and nobody gives a damn. Nobody wants to show it.

I work sometimes with dealers and sometimes people just come to me. A lot of the commissions, they just know me. They have seen something and they just approach me.

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.

I wanted my style to be very recognizable.

I know where the mistakes are. Nothing is perfect and I understand that.

I've always said my biggest influence is my, just, the last work I did, the last piece I made.

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.