A lot of my work is like picking potatoes; you have to get into the rhythm of it. It is different than patience. It is not thinking. It is working with the rhythm.

The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.

Nature, for me is raw and dangerous and difficult and beautiful and unnerving.

I'm very fortunate to be able to do what I do and live the way I do.

Generally in New York, people just walk over you with no problem about that. Other countries, people want to resuscitate you, like, after a bit.

Occasionally I have come across a last patch of snow on top of a mountain in late May or June. There's something very powerful about finding snow in summer.

If you repeat something, it can become pointless. Some things can repeat and be endlessly fascinating.