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.

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.

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.

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.

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

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.