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.

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?

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

I think the pursuit of trying to understand things is really a critical issue. I see the issue of life and death in everything I do. I'm trying to find answers. It can be quite frustrating.

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 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.