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.

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.

An artist can have an intention, but the viewer has their own subjective experience.

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.

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.

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?

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.