“This is a brutal work. They send this sort of thing in the mail, or they did at least. Here’s what happened to your mother. Other papers are included, detailed forensics. This is what happened to her body, this is what she did to her body. The body you sprung from. Deceased. Final, like she would say, “it’s just so final” Blue ink to match the…why did I make it blue? I don’t know anymore. Her cremated remains, ashes in the ink. The worlds paperwork on us, cold factual, unexplaining, merciless. Or at least if you loved her, or more to the point she loved you. And she’s gone forever. If we’re lucky it happens to many of us, this sort of thing. By lucky I just mean we loved, were loved and then lost that. But why make a large scale painting out of it? It’s simple really, we have to stop, does anyone remember Jane’s Addiction? That band seemed dangerous to me, when I first heard them, almost like a cult doing lord knows what when they weren't playing music, the energy the violence, it was like nothing I ever heard before. These are the lines I always think of

Save the complaints
For a party conversation
The world is loaded
It's lit to pop and nobody is gonna stop

Stop, no body is gonna stop, my mother was rolled over, nobody stopped, I want them to stop. I want things to stop. It’s probably the biggest turn off about my work. Ideally it makes you stop, or at least begs you to.” – TR Ericsson