A word refers to something in the real world and so, in a way, does a photo. It's not the thing itself, but it's a kind of suggestion of where you might look for that thing.

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.

The idea of the culture that you live in determining meaning in your art, though, is a very important aspect of what art would be about. But that had more to do with the kind of general understanding of what the hell you're doing, you know.

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

So I never had trouble getting work or working or doing - I always worked. I worked when I went to college. I worked after school.

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 challenge. I like to be put into a situation which I haven't done before. Something new presents itself and I see if I can somehow finagle it into making a work of art out of it.