I think we spend a lot of energy having conversations about what’s missing from the conversation, and I said well, wait a minute. ((Paradox)) Let’s have a conversation that we want to bring to the conversation. And that simple sort of martial art in a way of rather than being against something, say well, what can I cultivate in the emptiness that this has generated to think more like a gardener, more like a planter? And what I found then, because my work in the studio, my epiphany that begins really the Hieroglyph of the Human Soul, that I begin on 9/11 when the towers come down, and it’s all become a completely painted, multi-dimensional environment, with this extraordinary story.

But I believe that its revelation was this realization on my part that on 9/11 there was this sense of just soul exhaustion, as if we had come so far, and this was the best we could do. ((Event Fission, Looked The Most Czech, Moral Philosophy After 9/11)) It’s a bit like a bad Hollywood film. If you can’t figure out what to do with act three, you blow everything up. And that moment of absolute violence, I realized that the only thing — a bit like a modern Noah, was to at least within the context of where I lived, tell the story I felt worthy of generations. ((Texas Novel))