When you're working with an object, you can put in almost anything you want, you can make it abstract.

My rule was not to paint things as they were. I wasn't copying; I was remaking them as my own.

I am an immigrant in a sense. What happened was that my father was stationed in New York when my mother became pregnant, and she said, "I've got to go to Sweden so this child can be born there, because you don't have any idea where you're going to be transferred next."

The main reason for the colossal objects is the obvious one, to expand and intensify the presence of the vessel - the object.

You can take an object and simply put anything you want in that object, and I accessed that partly through Freudian ideas.

Actually, New York is great for playing around. I made a lot of studies for New York-a big vacuum cleaner lying on the Battery in Manhattan.

Judson Church was a very important place because they believed in art. They also took care of drug addicts. Without the Judson, nothing could have happened.