A lot of my works deal with a passage, which is about time. I don't see anything that I do as a static object in space. It has to exist as a journey in time.

To fly, we have to have resistance. It's all about turbulence. Reacting to images of wave patterns in fluid motion.

I always say I'm no different than a 19th-century landscape painter, it's just that we have these incredible tools to look at the Earth and look at the world around us differently.

How we are using up our home, how we are living and polluting the planet is frightening. It was evident when I was a child. It's more evident now.

I probably spent the first 20 years of my life wanting to be as American as possible. Through my 20s, and into my 30s, I began to become aware of how so much of my art and architecture has a decidedly Eastern character.

It terrified me to have an idea that was solely mine to be no longer a part of my mind, but totally public.

I can't shout out, "Do this." I don't want to be prescriptive. I want to give you facts, and that's the way I've always operated, whether it's a historical fact or a scientific fact, and then you actually have to connect it in your brain.