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.

The great thing about doing a show in New York is that you can work until the night before.

When I look back on everything I've done, it all somehow makes sense to me. But it doesn't make sense when you're actually doing it.

I'm trying to find answers. It can be quite frustrating, but at the same time, I'm never quite satisfied with what I'm doing, so I'm always looking for the next thing.

It's been like therapy to be able to play music and not embarrass my children too much. They've come to a bunch of the shows. It's kind of cool. I'm glad they like it.

One of the interesting things I discovered is that in the late 19th century, painters actually had black-and-white copies made of their own paintings. They chose it even over photographs because they knew the photographic medium would distort their work.

I made a body of work, which was like trying to make movies on a wall and was made up of all different images and materials. I had the aspiration to make movies because I thought that was the cycle. I had this insane egomaniac idea that I could make movies because I made these gigantic art projects.