I think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it's the ideological framing of the debate that scares me.
I think there are different ways of being rigorous, and I am asking people to be as rigorous in their pleasure as in their criticism.
I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.
I'm living my life, not buying a lifestyle.
I'd always been a news junkie, always read lots of newspapers and watched the Sunday morning news shows on TV and felt strongly about issues of power, control, sexuality and race.
Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.
I feel uncomfortable with the term public art, because I'm not sure what it means. If it means what I think it does, then I don't do it. I'm not crazy about categories.
I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.
Warhol's images made sense to me, although I knew nothing at the time of his background in commercial art. To be honest, I didn't think about him a hell of a lot.
You know, one of the only times I ever wrote about art was the obituary of Warhol that I did for the Village Voice.
I'm an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.
Things change and work changes. Right now I like the idea of enveloping a space and getting messages across that connect to the world in ways that seem familiar but are different.
All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.
I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author's rendition of events and circumstances.