Like any artwork, things become richer if you know more about them; but I don't think that's crucial.

Jazz musicians like John Coltrane needed these very clear titles for their abstract music, and your decision to bring voices into your music as a way to tap into content. It's related to the way my text-based work still functions as abstraction for me. If I repeat a sentence down a canvas, the text starts to smudge and disappear. It essentially becomes an abstract piece. The meaning of the text is still there.

One can take a neon tube and simply paint it black on the front. So it would read as a black letter or a line, but it would also read as neon because there would be light coming from behind that black letter.

In government they learned their lesson. They don't trust artists anymore. Now the money has to go through arts organizations. But, yeah, back then you could get a grant, and I got $5,000 - a huge amount of money.

I said to myself, "If the government thinks I'm an artist, I must be one."

I love Thelonious Monk's song "Just a Gigolo." It's probably a minor song for him, but whenever I hear a recording of him playing it, I'm mesmerized, because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.

At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.