I started realizing I have enough history that some of it has been forgotten.

The ebb and flow as an artist is a bizarre experience, for sure. I was lucky enough to become successful pretty young - in late '79, 1980 - with a body of work that got recognized and became an archetype.

An artist can have an intention, but the viewer has their own subjective experience.

If you're fortunate enough with your history, like with Men in the Cities, your work becomes so absorbed in culture that the authorship of it doesn't exist anymore.

I think the pursuit of trying to understand things is really a critical issue. I see the issue of life and death in everything I do. I'm trying to find answers. It can be quite frustrating.

And I'm sort of deconstructing the process of what marks came first, what came later. Every aspect of the image is interesting to me to dissect and understand.

I can't come up with the titles. My wife hates my titles. She doesn't even want to know about them.