A painting should be tough; it should have muscle, but I have to find some tenderness in it, too. There has to be that dynamic.

One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.

Small paintings can be fantastic. But you can't often get a narrative out of a small painting. In any case, museums are huge places, and you want to take up some space.

I have to go with what the painting says to me. The painting is always informing me. I'm its servant; it's not mine. I'm doing what it wants.

Now, I love painting. I love looking. I love the fact that they don't move. They constantly change with the light. They are sort of patient.

The disenfranchised should be going to art school - not the franchised.