Follow My Nose
It’s just instinctive, it’s all it is, so I’ve always been very follow-my-nose in terms of what I’m doing, I look back on some of the things I’ve made and think, “I wish I hadn’t made that” or “God, that’s awful” but I’ve always followed my instincts, so I’ve never gone — I work on whatever I’m making or I just look at strong images, and find things that I like or that I responded to. And for example, when I’m making drawings, which are very-very labor intensive, the figurative drawings, I have to pick images which I’m not going to get bored with.
So, when you’re working on something for such a long time, by drawing, it makes you think about what you’re drawing, so if that’s something abstract, then you’re thinking about abstract realms, philosophy and all those things. And if you’re doing something about, I don’t know, an archeological sacrificed man from the ice age or something, and you think about what sacrifice means, or what it means to die or what it means to be drawn or mimicking marks and stuff, it’s just a really cerebral process drawing, totally activates — when you’re painting, it’s completely different, you’re just sort of responding very quickly to something instinctively.1 It’s kind of I have to have both of those processes going on, because it’s like almost my right and left side of the brain need to be fed, but at different times.