When I make my creatures, that come from my imagination, it often amazes me that I could never match what’s in real nature. Like if I did what was in real nature, people would think that was crazy, like it just wouldn’t be possible. And it’s actually quite important and intentional on my part to create something that’s kind of familiar, but we don’t know them. It’s unknown to us, so that we can kind of think “Oh, this is plausible. This creature could potentially have evolved. It’s not beyond the bounds of reason, and I can suspend this belief. I can be drawn into this situation and feel something.”
And my work is actually about feeling, like the idea that I feel, therefore I think it makes an enormous amount of sense to me, and that’s my tactic in the work. I try and present these in emotionally charged situations, so that people actually are touched.1 That’s what I want when I go to an art gallery. I actually want to be touched. I want to feel something, because there’s so much stuff in the world that I don’t get touched by. It’s just so nonsensical to me, just like it doesn’t — yeah, it doesn’t make any sense to me. It’s just so heartless.