I have been tenaciously yet ever more slowly making prints for 15 years now. During that time I have written many lengthy statements discussing my motivations for, feelings about, content of, materials and methods involved in, and socioeconomic import of these images. But the sun is coming up, and I don't think I can go through all that again. If you missed it, I can get you copies. What it keeps coming down to is: "everything." Whatever you think I'm up to at first glance, there is probably also some element that is quite the contrary.
Yet all that is necessary to understand the works is to look at them. I mean for hundreds of hours, the way I do. That's what they are for: prolonged viewing. Staring. Gazing. Look at them from aways back, so you can see the overall framework. Get closer and "read" all the objects and (if you must) words. Then get your nose right up against them. Let your eyes roam undirected until some little chunk of marks draws them into its vortex. What appears to be formless background is often where the activity is. Sometimes it helps to let your eyes go out of focus. Eventually one of these knots of overlapping waves may involve you enough that you can forget about all the figures and words. That's one of my life quests.
It would be helpful to this process for you to purchase the art and take it home. This is a concept that seems to have eluded most of the viewing public so far. But I still maintain that these prints are among your best entertainment values, and I pay far more dearly for them than anyone else has to.