As an artist - I'm sure like most creative people - you have a kind of board of directors that you make your work for. It's a group of people that you have, these friends, and you want to know what they think. In a weird way, you're making the work for them.

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

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

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