After I did the drawings of trees combining them with words, I started doing - I did that for a very short time. Then it kind of - that sort of evolved into just showing the branches of a tree coming down into the trunk and then going into the root system. So I showed both the branches and the roots of a tree, which were about equal. There is as much going on under the ground as is going on above the ground, which you can see.

You can't just suddenly change gears and reverse yourself or go to the left or the right because there is no left or right. There's always a certain direction that you're moving in.

I always took photographs. I photographed a lot of trees, by the way, which is another image I used often in my work, the tree image.

But artistically, my art I kept very separate from my political beliefs, deliberately and very, very rarely would I allow that kind of thing into it.

The space between things is important to me. The projections, that darkness between the words or the images is very important.

I like a lot of good European films, good - anything really. I'm a big fan of Netflix and I get films from them all the time. If I hear about something that I don't know, that I haven't seen, forgot about, I immediately jot it down and add it to my Netflix list or if there's a film that's available that I haven't seen for many years, I get that.

I was an adjunct. I never got tenure, never had it. I was a professor, though. But I never got tenure. I never really wanted tenure, to tell you the truth. Really wasn't - the guys who got - the tenured people were some of, like, the least interesting. And they were people I didn't really like very much anyway.