I think not knowing what to think of your paintings is a good place to be.
I was always very... impatient about showing my paintings to people.
It's nice to see your name in print. It's interesting.
I think it's good when people don't write good things about your work. I mean, what a great compliment it is to be called a charlatan.
I think the nice thing about showing work in New York is that other artists come to see it. When you show work in Switzerland or somewhere else, everywhere else seems to be the provinces in a certain way. You wonder what your paintings are doing on the walls and you wonder who's looking at them.
The thing about living in New York is that there are other artists; that is the most difficult, I think they are the hardest critics.
In a certain way, my work had set me up to be against lots of things. If there wasn't some sort of sanction for it in the public world, it might have been...it wouldn't have been tolerated, because people don't want things to get shaken up.
There were some types of sanctions that happen in the public world that made my work acceptable, where someone looks at the paintings and they don't - they may go, "okay," and then look at it in a different sort of way. Instead of just looking at it as some type of wild art, they look at it in a historical perspective or context.
There are certain times you want to be here and there are certain times you want to just go. And when you go, it's usually so exhausting you have to check into a hospital when you come home!
I don't think my paintings are self-conscious but you feel the consciousness of them. Without them being self-conscious.
I don't think the meaning in my paintings comes from just using broken dishes.
I don't know if I could, like, see a face and know what the face of beauty looks like, but after I've seen it I know if I've felt like it was beauty.
I want the paintings to take me or the viewer out somewhere else.
I think basically I'm a painter, but I would use anything to make my point.
I think beauty is a feeling that you get after you've had an experience. It's the way you feel about it that is beautiful.
I like when people get really close to the paintings, when they can't really get away from them, I like them to operate in that way on the viewer.
Some people might think that the paintings are involved with a mythic - not just subject matter - but a certain sort of physical space that the paintings occupy...like personages.
I have a completely romantic idea about making paintings, I guess.
Maybe my work looks a little crazy, a little insane, but I don't really see myself as a crazy artist or a shaman artist.
Everything I've seen becomes real once it becomes memory. The films I've seen are interchangeable with things that have really happened to me.
I think it's your own ghost, seeing the work and just thinking if it will be okay to leave that around.
I'm not mannerist. I don't think I'm interested in mannerism. If I ever use it in a way, or if manner is like some kind of product of certain sorts of usage of different kinds of materials, then it's about involution or turning in on that.
I think people have problems sometimes when things are too general. In fact, they are not really general at all.
I think, basically, I'm an abstract artist. I just think that that's not even an issue. I think everything's abstract.
I think style is a fringe benefit that looks like you made it.
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