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 like the work hanging free in the frame. I don't like too much frame around it but I like a little breathing space around the piece.

The idea of words and photos was something that appealed to me.

So it sort of dawned on me that you have to build into your work the fact that it's going to be shown in different kinds of places and different kinds of light. And the fact that the surroundings and where you're going to be shown is always changing, so that should really not affect the meaning of the work. It should be part of what the work is about.

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

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

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