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.

If you are operating in a certain way and you are thinking in a certain direction, suddenly opportunities arise. And if you are open to it, if you are not locked into your style too much or to what you think works.

I liked the idea of the words floating in space and the space behind it moving all the time, ever changing.

I never stop thinking about what I have to do. Let's put it that way. The only thing that takes me out of that is probably a film. I watch a lot of movies.

I work sometimes with dealers and sometimes people just come to me. A lot of the commissions, they just know me. They have seen something and they just approach me.

I was a filmmaker. I made movies. I made films. And I always took photos and made films, always from the beginning.

Teaching I realized took up a lot of my time. I was a kind of a teacher that spent time with students, spoke to them after class, tried to help them out. I'd talk with them personally about their work and try to get out of them what they were thinking about, forcing them to thinking seriously and not just falling back on all the ideas that they had picked up someplace. And so I took my job teaching very seriously and that - as a result, it took up a lot of time.