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.

I do have great respect for painting, but I am definitely not a painter. I make drawings of paintings, and I'm jealous of painting for sure, but, for me, the paper gives my work a limit.

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.

I've been dealing with epic images, and I realized all of a sudden that I grew up in the age of epics.

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.

You make the work for yourself first and the next line is the people you trust, and you know that they're going to tell you what they feel. They let you know if you're dishing bullshit or if it's real.