Winter makes a bridge between one year and another and, in this case, one century and the next.

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 photography is not the aim of the work; the articulation of the work through photography is another way of understanding what's going on and what's happening outside.

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.

The main reason I went to digital was because I got time-lapse, video, and still images all in one camera. Having a minimal amount of gear is really important for someone who wants to walk around. That allowed me to have this flexibility to document things in different ways.

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

I think that any sculpture is a response to its environment. It can be brought to life or put to sleep by the environment.