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It's kind of a language I've developed over time that's basically breaking up the face into components and planes. Inside each plane, I draw gradation marks, and when planes come together, they form sinews, a hairlike weave that's like a landscape of the face.

A face is like the outside of a house, and most faces, like most houses, give us an idea of what we can expect to find inside.

I search for the realness, the real feeling of a subject, all the texture around it... I always want to see the third dimension of something... I want to come alive with the object.

When I look at someone's face, there's something in my brain that just clicks - that breaks down their face into the elements that go into a caricature. It might be like the way a chef tastes a dish and can break down into elements what went into it.

Some would suggest that there has been a dramatic change in our perception of the world and ourselves within the world. Others have observed that there has been an almost complete about-face in a relatively short span of time.

What is a face, really? Its own photo? Its make-up? Or is it a face as painted by such or such painter? That which is in front? Inside? Behind? And the rest? Doesn't everyone look at himself in his own particular way? Deformations simply do not exist.

Abstraction is one of the greatest visionary tools ever invented by human beings to imagine, decipher, and depict the world.

You look at the world around you, and you take it apart into all its components. Then you take some of those components, throw them away, and plug in different ones, start it up and see what happens.

Once the object has been constructed, I have a tendency to discover in it, transformed and displaced, images, impressions, facts which have deeply moved me.

When a piece gets difficult, make faces.