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

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 can't come up with the titles. My wife hates my titles. She doesn't even want to know about 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.

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 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.