Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.

I knew from the age of five what I wanted to do. The one thing I could do was draw. I couldn't draw that much better than some of the other kids, but I cared more and I wanted it badly.

After a few days in hospital, I was thinking, Oh, gee - I raised in a church, Protestant upbringing which I'd rejected as an adult - I'm lying in bed thinking, Hmmm, maybe I ought to pray. They always say there are no atheists in a foxhole... and I thought, Here I am in a pretty good-sized foxhole... and I thought Naahhh. I wouldn't respect any God who would listen to me after I'd rejected him so vociferously.

What difference does it make whether you're looking at a photograph or looking at a still life in front of you? You still have to look.

It always amazes me that just when I think there's nothing left to do in photography and that all permutations and possibilities have been exhausted, someone comes along and puts the medium to new use, and makes it his or her own, yanks it out of this kind of amateur status, and makes it as profound and as moving and as formally interesting as any other medium.

At the same time that I'm finding the color world I want, I'm also trying to make the imagery, you know, by the nature of the strokes themselves.

Of all the artists who emerged in the '80s, I think perhaps Cindy Sherman is the most important.