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+ My work has usually been universal. The figures
have never really been that specific. They’re
not clothed; they’re not identified with
any trappings that specifically tie them down
to 2005. It could be today, but they could be
from some other time, a long time ago. So I do
connect all the way back to the fundamentals of
the cave.
+ You’re sitting there with your muse and
your muse is telling you something and you’re
following it, and you end up the next day looking
at it and thinking “what the hell was the
muse saying to me?”
+ For me painting is that magical material, that
beautiful stuff that was invented, the ground-up
pigments in oil which makes it very malleable.
It can be manipulated and changed, darkened, lightened,
given different hues and colors, so that by manipulating
this material somehow I can find that figure I’m
looking for, that figure that represents all the
issues I’m bringing up and addressing.
+ Though I have considerable interest in Europe
and in traveling, I am most content with simply
working and allowing the world that I'm creating
to unfold before my eyes.
+
Given all the technology that we're in the middle
of, I would be so pleased if someone would look
at one of these prints and say, 'You know, I feel
like that.' What I'm concerned about now is creating
a metaphor for what the figure really is.
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