I make videos which are works of art in themselves which have nothing to do with Hollywood movies or anything along those lines and I like videos because they deal with light and dark and time and change and they're just another kind of medium that I can get into and work with when I choose to other than, say, doing something on the wall or a window.

I'm my own worst critic. I mean, I know what's wrong with everything that I've done.

I make my own surprises and I'm always surprised to see what I do, to see it when it's finished and the biggest challenge is once I finish it, it's not a failure. It's not a flop.

Any artwork is part of something larger, grander and, you know, the situation that it's in is very important.

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 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.