The drawings don't start with 'a beautiful mark'. It has to be a mark of something out there in the world. It doesn't have to be an accurate drawing, but it has to stand for an observation, not something that is abstract, like an emotion.

My grandfather was a member of Parliament for 40 years. Obviously we're talking here South Africa, a whites only parliament. I grew up in a family that was very involved with the legal battles against apartheid—the great treason trials in the 1950s and early '60s, and later with the legal resources center that my mother founded. My father was involved with a number of very prominent cases that had political aspects to them, whether it was the inquest into the Sharpeville Massacre, the death of Steve Biko, or one of the trials of Nelson Mandela.

To say that one need art, or politics, that incorporate ambiguity and contradiction is not to say that one then stops recognizing and condemning things as evil. However, it might stop one being so utterly convinced of the certainty of one's own solutions. There needs to be a strong understanding of fallibility and how the very act of certainty or authoritativeness can bring disasters.

The absurd, with its rupture of rationality-of conventional ways of seeing the world-is in fact an accurate and a productive way of understanding the world.

I am only an artist, my job is to make drawings not to make sense.

The uncertain and imprecise way of constructing a drawing is sometimes a model of how to construct meaning... The ethical and moral questions...in our heads seem to rise to the surface as a consequence of the process

Forgetting is natural, remembering is the effort one makes.