>> WHATEVER POPS IN MY HEAD INSTEAD OF ME SAYING, OH, THAT CAN'T BE DONE OR NO, SOMEONE'S GOING TO HAVE A PROBLEM WITH THAT, I TEND TO JUST DO IT BECAUSE YOU'RE NOT GOING TO KNOW UNTIL YOU GET IT OUT OF YOUR HEAD.

THAT'S THE STARTING PLACE IS JUST MAKING SOME MARKS.

YOU JUST MOVE PAINT AROUND OR YOU MOVE THE PEN AROUND OR YOU MOVE THE PENCIL AROUND UNTIL YOU FIND SOMETHING IN THERE KIND OF LIKE LOOKING AT CLOUDS.

AS THEY MOVE ACROSS THE SKY, YOU START TO SEE IMAGES.

MY JOB IS TO TAKE EXISTING THINGS AND THEN SOMEHOW DO A DIFFERENT TWIST ON IT.

AND TWISTING THE STORY GIVES IT A DIFFERENT PERSPECTIVE.

I HAVE TO SEE IT IN MY MIND BEFORE I CAN ACTUALLY PUT IT IN A CANVAS OR ON PAPER.

WHAT IS THIS GOING TO BE ABOUT, I KNOW THE HISTORY OF THE STORY.

HOW DO I BRING MY OWN INTERPRETATION TO THAT.

I HAVE BEEN WORKING ON THIS MOSTLY DRAWINGS TO MY SKETCH BOOK, KING KONG AND PLAYING WITH THAT IMAGE AND WHAT KING KONG LOOKED LIKE TO ME.

I GET AN IMAGE IN MY HEAD AND GO AHEAD AND DO IT, WHAT IT LOOKED LIKE, IF IT LOOKS LIKE IT CAN BE FLUSHED OUT MORE, I'LL DO MAYBE THREE OR FOUR SO YOU GET A SENSE OF WHERE THIS IS GOING.

THERE ARE SOME THAT PAINT THEMSELVES, AND THERE ARE OTHERS THAT YOU THINK, I HAVE A GREAT IDEA, BUT IT DOESN'T LOOK GOOD VISUALLY.

THIS IS MORE ABOUT THE COMPOSITION THAN SUBJECT MATTER, HOW THINGS COME TOGETHER.

ONE DAY YOU WILL START THE PAINTING, AND THE NEXT DAY, EVERYTHING THAT YOU THOUGHT WAS JUST PERFECT IS NO LONGER PERFECT ANYMORE.

IT'S KEY TO STEP BACK SOMETIMES TO KIND OF SEE A LOT OF ARTISTS WILL TAKE A SEAT, AND THEY'RE TOO CLOSE TO THE WORK.

THAT'S WHY YOU SEE MIRRORS HERE.

IF YOU'RE LOOKING AT SOMETHING FOR A WHILE BECAUSE A LOT OF TIMES YOU MISS ALL THE MISTAKES.

BUT IF YOU HAVE A WAY TO CHANGE THE WAY YOU SEE FROM TIME TO TIME, BY LOOKING IN THE MIRROR, YOU SEE ALL THE DISTORTIONS BY LOOKING DIRECTLY AT IT.

SOMETIMES IT'S BETTER TO STEP AWAY AND DON'T LOOK AT IT FOR A WHILE AND PAINT MORE THAN ONE PAINTING AT A TIME.

DID AN 18-FOOT PAINTING.

THE PAINTING APPEARS AS THOUGH IT'S A DREAM BECAUSE THE PERSPECTIVE IS SORT OF WONKY IN PLACES.

THE WHOLE IDEA WAS I WANT PEOPLE TO ACTUALLY BE PART OF A PAINTING, TO WALK INTO THAT SPACE AND BE A PART OF THE EVENT TAKING PLACE.

THESE AREN'T MODELS.

THESE ARE THINGS MAKING UP A CANVAS.

TO USE A MODEL AND MAKE THEM DO THE THINGS THAT I WANT TO DO, SO I LOVE TO PLAY WITH THINGS THAT DON'T MAKE SENSE OR SEEM A LITTLE DANGEROUS.

I DON'T KNOW IF I REALLY CONCRETELY START WITH A STORY.

BUT IF YOU SAW THE DRAWING THAT THAT PAINTING BEGAN WITH, IT'S COMPLETELY CHANGED.

THE FIGURE THAT'S HOLDING THE MAGNIFYING GLASS HAS ALWAYS BEEN THERE.

THAT'S PROBABLY ONE OF THE FEW PIECES IN THAT PAINTING THAT IS FROM THE ORIGINAL IDEA BECAUSE YOU THINK OF THE MAGNIFYING GLASS AS ONE OF THOSE THINGS, I REALLY WANT TO SEE THIS CLOSE SO I CAN UNDERSTAND WHAT I'M LOOKING AT.

THAT'S WHERE THE ORIGINAL CAME FROM, USING THE MAGNIFYING GLASS AS A METAPHOR FOR NOT REALLY BELIEVING UNTIL I CAN ACTUALLY SEE.

BY KEEPING AN OPEN MIND BY SAYING, I DON'T WANT THE MAKE THIS ABOUT ANY PARTICULAR THING, I WANT IT TO BE OPEN ENOUGH THAT THE VIEWER WILL HAVE ALWAYS THE POSSIBILITY OF SEEING IT DIFFERENT EVERY SINGLE TIME.

THAT'S NOT YOUR JOB TO EXPLAIN IT.

YOUR JOB IS BASICALLY MAKE SOMETHING INTERESTING ENOUGH THAT PEOPLE WILL ASK THE QUESTION, WHAT IS THIS, AND WHAT DOES IT MEAN TO THEM.

I HAVE SO MANY IDEAS IN MY HEAD THAT I CAN'T GET THEM DOWN FAST ENOUGH.

AND I TEND TO BE ONE WHO FEELS LIKE MY WORK IS IMPORTANT FOR ME TO JUST KEEP DOING IT UNTIL I CAN'T DO IT ANYMORE.

IF I GET AN IDEA, I DON'T EDIT IT.

I JUST -- I MAY NOT LIKE IT, BUT AT LEAST I PUT IT DOWN.

SO I GET THE JOY OUT OF JUST BEING ABLE TO COME IN HERE IN MY OWN SPACE AND CREATE IMAGES THAT DIDN'T EXIST BEFORE.