"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."
"I referred to the set as a trap: you entered it and you couldn't get out. Everything around it was a void. It floated in a void. For years I kept the set but didn't show it again. All the materials, the ketchup and whatever, were old. The question is, how does it continue? The work is evolving and changing."