My single-minded aim is to give existence to fantasy.

I like to treat paint as material - to daub it, drop it, let it slide. There was Action Painting, but I also compare it to paint effects found on the streets. This approach is superimposed on a sculptural surface that is also 'painterly.'

Chicago has a strange metaphysical elegance of death about it.

If you really want to be an artist, you search yourself, and you find a lot of it comes from earlier times. I have pretty much built the work around my experiences. When I've moved from one place to another, the work has changed.

There are few men more superstitious than soldiers. They are, after all, the men who live closest to death.

I guess on one hand I believe it doesn't matter if there is life after death.

If you think about it, Washington's overwhelming power in the world is founded on death, the awesome arsenal for killing people.

At the age of 16, my father's father dropped dead of a heart attack. And I think it changed the course of his life, and he became fascinated with death. He then became a medical doctor and obviously fought death tooth and nail for his patients.