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.

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.

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.

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.

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.

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.

I find that all these subjects that I'm dealing with tend to lead me to religion and politics one way or another. It's not something that I necessarily want to address, but it seems like it's screaming at me to pay attention to it.