His work is unsettling because, in some mysterious way, beneath the shell of what seems "safe" themes and subject matter, lies an instinctive and intuitive sense of art's most necessary function: the placing of craft at the service of altering our sense of the real. This Ojeda does without recourse to the cantankerous and gimmicky cult of pseudo-novelty which has characterized North American, and especially New York, art over the last few years.

Joe Mercer, who rode the horse to some of his biggest wins described him as "a cantankerous bugger".