"Digital communication - despite all of the possibilities it presents - is not synonymous with meaningful contact."
"One strength I've always had is not really having to depend very much on external approbation as an artist. I always have had confidence that I was pursuing what I wanted to pursue, and I didn't have much choice in the matter."
"Contemporary art fundamentally addresses the globalist elite. It's a misconception that contemporary art has - or should have - some universal power of communication. In reality, its visual lexicon is arcane and intentionally opaque. Its ownership is reserved for the very wealthy."
"The entire institution of contemporary art is irrelevant to the disenfranchised."
"My paintings usually have a clear figure-ground relationship - the background is always a flat colored plane, and the prisons and cells are discrete units with a distinct texture."
"Honestly, to me, there is no such thing as pure abstraction. To my way of thinking, every form has multiple referents. The language of my paintings is derived from twentieth-century abstraction because I think that it also had referents in the industrial landscape."
"I began using Day-Glo color as a sort of joke with myself. It really felt like slapstick, this put-down of elegant abstraction."
"We called the cultural bluff on the issue of simulation. Neo-expressionism was a kind of simulation of pre-war modernism, a Disneyland version of the School of Paris, made for shopping malls. I think by drawing attention to this whole idea of simulation and questioning influence, we presented a conscious alternative to neo-expressionism."
"In my early years in New York, I developed the intuition that one's psychic life was inseparable from one's social identity. This issue is of paramount importance to my work."
"What really specifically interests me is that the use of color can be transgressive. I find it exciting if I can make some awkward color or combination of colors work."
"I strongly believe in making art that can be looked at quickly. We live in a society of informational and cultural overload. The idea of a Cezanne, for example, which you can study for hours and various nuances are revealed, seems very out of touch at least with my own psychic life. I want to make something explosive and immediate. And hopefully explosive and immediate each time you go by and take a quick look at it."
"People have always said my work is both seductive and assaulting. That balance between drawing you in and pushing you back has always resonated with me."
"About 15 years ago, I began to notice that artists were using color more freely and older people seemed more responsive to it, and I swear to God that it's because of the iPhone. We've become so used to interacting with this colorful iPhone world."
"I'm of the opinion that Instagram has been great for the art world because it's been very democratizing. I know artists whose work has gotten around because someone saw it on Instagram. Another example is the art fairs. You never used to know what was going on at Miami Basel unless you got a plane ticket and an expensive hotel room, and now you can just scroll through the whole thing. It's made a big difference."
"... digital natives (people 30 to 40) seem really comfortable with my work, because both in color and imagery, it seems to speak to how they assume the world is, in terms of circuitry, diagrammatic images, and highly keyed color."