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 ever approached a dealer. I have always been approached by dealers or curators or whatever.

If I'm reading something and a word pops up, or I just catch it, I try to mark it off and then, later, write it down on a piece of paper and add it to my list.

I'm used to being the background. I'm used to having work that only lasts for a little while. I'm used to being - working in the real world, where real things are.

I've always said my biggest influence is my, just, the last work I did, the last piece I made.

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.