"In the paintings where it's there—the tenderness—I work for it. I'm not afraid of it. If I could put my bleeding heart in there, I would."
"As the works progress, the more the information is layered in a way that’s hard to decipher what is what. And that’s intentional. It’s almost like a screening out, creating a kind of skin or layer of just this information that we recognize. So if a building is from Baghdad or New York or Cairo it’s not so important. I don’t necessarily reveal which building is from which place."