But if I did read, say, [Maurice] Merleau-Ponty, for instance, it always seemed to me that the parts that I understood in what he was talking about - and I read him because - well, he wrote a book, well, the Phenomenology of Perception [New York: Humanities Press, 1962]. And it seemed to me that perception had a lot do with how we take in art.

I have been in competitions for commissions. I've won most and lost some. Mostly, I've won.

I had always taken photos - always, always taken photos, made movies.

If you want to know about what's good in art, you should talk to an artist.

I make videos which are works of art in themselves which have nothing to do with Hollywood movies or anything along those lines and I like videos because they deal with light and dark and time and change and they're just another kind of medium that I can get into and work with when I choose to other than, say, doing something on the wall or a window.

I think you say the word in your mind anyway, you know. When you look at a word, you say it.

I don't really use still photography very much anymore except to document my work.