I've been very lucky. I've had three separate careers: freelance illustrator, then set designer, puppetteer and animator, and now fine artist. I just bluffed my way into every one of 'em!

As far as I'm concerned, there is no line between high art and pop art, and there should be no line.

You're free because you don't have to expose yourself, and you can go wild, and let your id completely out of its box, and nobody will see you because you're operating through a surrogate. It's an opportunity to crack open your shell, to melt down yourself, and just let yourself go. It's a form of catharsis for me.

Puppets are pure form then ideas for performance come out of that. It's always the form and the visuals and that's why I like to make puppets in a gallery or museum. They're not often in those contexts.

All I do is work, that's all my life is work.

But nobody predicted anything of this magnitude in terms of resistance. And in part, the magnitude of the resistance was spurred by our failures in reconstruction.

It's about communication, no matter how impossibly hard your art is to understand and how much of an ivory tower or high horse you get on, it's still basically communication or why are you doing it?