And when you see artists like Donald Judd and so forth being referred to as conceptual, what the hell does that mean? It's a totally meaningless term.

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 work sometimes with dealers and sometimes people just come to me. A lot of the commissions, they just know me. They have seen something and they just approach me.

The space between things is important to me. The projections, that darkness between the words or the images is very important.

If somebody gives me a chance to do something, I am going to use that space, that time, that light, that whatever it is and try and work with it.

There's a kind of poetic aspect to inert gas. And remember, first of all, they were completely unknown a hundred years earlier. We just didn't know about them. And then when they were discovered in the atmosphere, the idea that this is a material that would breathe in and exhale and becomes part of us for a while made it even more intriguing. The names, the Greek names, are interesting, too - if you translate neon, xenon and so forth are kind of interesting.

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