I do make some drawings for wall pieces. I do work out some ideas for large-scale wall pieces where I have to organize words or get proportions right. I do keep them in my files. Not an exhibit or a show; just as part of my records, my archives.

And style, by the way, is a very important thing. It is like your signature, your handwriting or it is something that you develop that is your way of presenting yourself and also your way of looking at what art - of how to make art.

When you present works of art, one thing I've learned is that if you're lucky - [Laughs] - there will be those few people who, shall we say, get it? Really become engaged, become moved by it in their own way. You cannot control what other people are going to think about it.

I'm always looking for relations between my work and the old masters.

I'm getting more and more into Chinese art and Japanese, some of those scroll paintings are amazing. You follow the change of the seasons. It's really something. These guys were great masters and of course the use of space.

I had always spoken about the space between the art object and the person looking at it as this dynamic space, which I referred to over and over. So the idea of the space between two things was sort of interesting to me.

I didn't like anti-Vietnam War art. I didn't like feminist art. I thought it was heavy-handed and stupid - as art.