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

The thing that's interesting as you get older as an artist is that the biggest challenge seems to be: how do you stay relevant?

The translation process becomes a highly subjective thing - turning reds and blues into black-and-whiteness. It's really bizarre for me.

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

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.

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.