The electronic image is not fixed to any material base and, like our DNA, it has become a code that can circulate to any container that will hold it, defying death as it travels at the speed of light.

There's another world out there just beyond the world we're in. It's just on the other side of that translucent, semitransparent surface.

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.

A doctor once told me that with crying you aren't sure what its derivation is. If someone comes at you with a knife, you don't cry: you scream, you try to run. When it's over and you're OK, that's when you cry.

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.

A lot of what making art is, is just being open, and empty. And putting yourself in the right place for things to, literally, come together.

People have experiences in art museums today that they used to have in church.