The artist discusses his obsession with depicting the mouth and teeth, influenced by Eisenstein's film Battleship Potemkinand an illustrated book on mouth diseases. He acknowledges that his fixation on this subject may have sexual implications, but he does not analyze it deeply. He also reflects on why his work is often perceived as "horrific," arguing that this stems from his attempt to depict reality in a raw and direct way, which can make viewers uncomfortable. He talks about his relationship with his models and paintings, noting that he avoids painting close acquaintances in their presence because he does not want them to see the distortions as a form of injury. For him, painting involves both a caress and an assault, a mix of contradictory feelings that allow him to capture the essence of his subjects. His creative process relies on improvisation and chance. He does not make detailed sketches and prefers working from photographs rather than live models. He explains that, while painting, he aims to lose conscious control, allowing accidents and intuition to guide his work. Regarding crucifixion, he sees it as a theme that enables him to express his views on the brutality of life, detached from any religious meaning. To him, art is a game that distracts humans from their own futility, and the only way for it to remain relevant is by deepening this exploration to return the viewer to reality in a more intense way.
