My work is on the one hand laboured, and on the other completely happenstance and intuitive.

At times we would have these whole cities that would take up rooms and stretch out all over the house. But they were also very abstract, like ‘this piece of cardboard is a pool’ and so forth.

Artists know that you can take an advertising sign and make something joyful with it. It’s sometimes hard for people who don’t make things to understand labor and joy and attention and whimsy.

The protocols of science fiction and the protocols of science are not separate-they’r e woven together.

Artists know that you can take an advertising sign and make something joyful with it. It's sometimes hard for people who don’t make things to understand labor and joy and attention and whimsy.

This idea of repetition and revision is central to my working process-this idea of stacking and layering and building up densities and recoveries.

The protocols of science fiction and the protocols of science are not separate-they'r e woven together.

At times we would have these whole cities that would take up rooms and stretch out all over the house. But they were also very abstract, like 'this piece of cardboard is a pool' and so forth.

I like radically cutting into the painting, inserting these paper birds, and then trying to figure out how to believe in it.

The things that separate the planes are the incisions and the edges of the matter. Each separate layer of cutting or painting is visible and readable as an edge.