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.

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

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 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.

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.

I've been dealing with epic images, and I realized all of a sudden that I grew up in the age of epics.