All of these mechanisms we have for celebrating are so double-edged. So much sorrow comes out of joy.
I think that artworks are like these spiritual objects: I think that they have energies and powers beyond what the eye can see.
I've always been interested in moments of disbelief... I don't know if they possess any magic, but they do have something.
My icons do not raise up the blessed savior in elaborate cathedrals. They are constructed concentrations celebrating barren rooms. They bring a limited light.
Painting is so poetic, while sculpture is more logical and scientific and makes you worry about gravity.
As a father, I would say I am more like a mother. I do a lot of hugging.
There was a point I could have just churned out the spot and spin paintings for ever and laughed all the way to the bank.
A painting probably is the most shocking increase in value, from what it costs to make to what you sell it for.
I think cubism has not fully been developed. It is treated like a style, pigeonholed and that's it.
On the iPhone I tended to draw with my thumb. Whereas the moment I got to the iPad, I found myself using every finger.
As for the world of fashion and celebrity, I have the usual interest in the human comedy, but the problems of depiction absorb me more.
In fact, most artists want to make things a bit more difficult for themselves as they go along, to challenge themselves.
People tell me they open my e-mails first, because they aren't demands and you don't need to reply. They're simply for pleasure.
Yes, I did, I mean I painted er, in a kind of abstract expressionist way, because of course that was exciting.
Who's going to ask a painter to see a diploma? They'd say, 'Can I see your paintings?', wouldn't they?
I like the confusion you get between science and religion … that’s where belief lies and art as well.
I haven't sufficient interest in objects or anything I can see around me to do what Oldenburg does.
A lot of Broadway has that immigrant narrative of America as a place where you can become something else against all odds.
I have always been interested in having people fall into the image and be aware of their reaction first, and then think about the style.
I'm interested in visual vocabulary, like Warhol was interested in that vocabulary of advertisements and television and pop culture.
I pay two full-time assistants in my studio, plus consultants who are architects, engineers, and landscape architects, as well as lighting designers.
