It's when a painting makes the hairs on the back of my neck
stand up. If I'm lucky, I get that once a year.
You live for those moments.
Yeah. That's success. Money is great and wonderful, and if
I have a big ton of it I'd set up a foundation to give money
away to artists. On the other hand, without money I can't
have a studio this size and make paintings. It's expensive
to do this stuff, I've got assistants. The money side of it is
not the least of it all but it's not important. It's about the
work. It's about creating things that have never been made
before.
How did you shift from making work derivative of
Richter to "Frequency"?
The paintings that I was making prior to the work derivative
of Richter was acrylic on silkscreen fabric. I call it polyester
screen which is actually what it is. But it's not printed, it's
painted with a squeegee. I decided to shift gears when
I really felt as though I wasn't discovering things on a
rather continual basis. And it wasn't new, it wasn't fresh.
I mean it's sellable all day long, but I was going through
the motions. About December 2015 I decided to switch
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