Somebody like Mailer brings to that role everything that he stands for. The types of characters that I gravitate towards, the types of icons, tend to have a heavy physicality in that way.

I don't think my work is so strange. It's just a matter of having the discipline to go the whole way with an idea, to stretch it as far as it can go.

An interesting thing happened in 1989, right as I was graduating: the stock market crashed and really changed the landscape of the art world in New York. It made the kind of work I was doing interesting to galleries that wouldn't have normally been interested in it

A lot of these angles are really about trying to mimic broadcast sports angles in order to anchor the scene, to sort of normalize it before it becomes abstracted.