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

Developing your own style became something very interesting, very important to me.

I know where the mistakes are. Nothing is perfect and I understand that.

I always thought there was a - even in the most, quote, "conceptual art," there is always a physical aspect to it. I never knew what the term meant.

I try to create a kind of dynamic thing that hopefully some people will become interested in. And what they do with it after that is sort of up to them. But it's a specific item, it's a specific thing that I've done. And what they do with it is their problem.

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.

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.