I'm fortunate in one respect; that I don't have a lot of work in my studio. Most of it's out, gone; either sold or in galleries. I work with a lot of galleries.

People ask me why I use words and the reason, of course, is that words talk to you. I mean, they're something that are generated inside of you and that you can relate to you.

I have a lot of ideas for art. And it is really - I don't really have time to do them all.

I am very generous with my dealers in terms of the art that they have of mine. They all have a very good selection of work that they can work with. And it is up to them to find the dealers. I don't interfere with their selling.

The idea of, say, the compressed space between the floor and the object hanging over it and then the long space between the object and the ceiling was a kind of interesting idea for me - the idea of compressing and expanding. That was an idea that I worked with, which you could only do sculpturally. You can't really do with a painting on the wall.

I'm getting more and more into Chinese art and Japanese, some of those scroll paintings are amazing. You follow the change of the seasons. It's really something. These guys were great masters and of course the use of space.

I do make some drawings for wall pieces. I do work out some ideas for large-scale wall pieces where I have to organize words or get proportions right. I do keep them in my files. Not an exhibit or a show; just as part of my records, my archives.