My works really begin in a very simple way. Sometimes it's an image, and sometimes it's words I might write, like a fragment of a poem.

In the mid- to late '60s to the mid-'70s, when I was a student, there was a major change in the thinking about what art can be and how art is made.

It only takes a second for an impression to become a vision.

I hope we'll be able to see that in our lifetime: the end of the camera! When I'm in Paris, I'll buy a big bottle of champagne and I'll save it for that day, for the day when they'll be no more camera.

Human beings have always been creative. The guys who were making the pyramids, and archaeological research has showed us this, had little figurines made by the workers, to express their devotion to their god.

I came of age at the end of the 1960s, just when video was also coming into the world. Companies such as Sony and Panasonic were starting to market it and we artists immediately knew how it could be used.

The fundamental aspect of video is not the image, even though you can stand in amazement at what can be done electronically, how images can be manipulated and the really extraordinary creative possibilities. For me the essential basis of video is the movement - something that exists at the moment and changes in the next moment.