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.

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

My degree was in sculpture. I always think that drawing is a sculptural process. I always feel like I'm carving the image out rather than painting the image. I'm carving it out with erasers and tools like that. I've always had this fondness for sculpture.

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.

It's been like therapy to be able to play music and not embarrass my children too much. They've come to a bunch of the shows. It's kind of cool. I'm glad they like it.

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.

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?