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.

And when you are operating within your style, which is your world, which you operate in, then it also would make sense to you. Now, whether it makes sense to anybody outside is besides the point really. You just do it and then you find that other people kind of begin to relate to it and allow themselves to get into your way of thinking about things.

I liked the idea of the words floating in space and the space behind it moving all the time, ever changing.

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'm fortunate in one respect; that I don't have a lot of work in my studio. Most of it's out, gone; either sold or in galleries. I work with a lot of galleries.

I was a filmmaker. I made movies. I made films. And I always took photos and made films, always from the beginning.

And the mind actually does generate electrical currents - very weak ones and not necessarily ones that can be picked up by anyone else.