It’s really difficult to know what goes on in anybody’s head to tell you the truth, what insight to get. I think in the end of the day, people — if you begin to see that people are attracted to your work and they begin to talk about the work and become fascinated by the work, or they’re even angry about the work or threatened by the work, you know it’s gone inside, so well that’s the good thing. ((Cloaca, Let Them Ventilate)) The more — when somebody feels the pictures are disturbing, and I say well, that’s the medicine you probably need, because you block — they shouldn’t be disturbing. They should actually be enlightening, and if they are disturbing, they actually are enlightening. You can see — I mean most of my pictures do get in — stick in people’s heads. The people who generally see my pictures, don’t forget them, and remember them and feel that they’re walking away with something in their head.

It’s not like a lot of other contemporary art you see — you say to yourself, like, you could have seen this at Disney World maybe. It doesn’t mean anything. It’s just a big — the comment that we’ve seen a million times before. So, the pictures should stick in a place in the head that the head can’t figure out, it should present an enigma to the head, and the head has to spend time trying to unravel it, and as it tries to unravel what I’m saying, it helps it unravel itself, which is perhaps what art should be doing, but that doesn’t seem to be an important concept in contemporary art right now.