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

As an artist - I'm sure like most creative people - you have a kind of board of directors that you make your work for. It's a group of people that you have, these friends, and you want to know what they think. In a weird way, you're making the work for them.

It's weird making a drawing of painting. I start to realize that charcoal is this incredibly fragile material. I'm making images of paintings out of dust.

I always imagine that I want to make art that is going to kill you,whether it’s going to do it visually or physically, I’ll take either way.

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.

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.

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.