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.

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.

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.

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