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.

The idea of words and photos was something that appealed to me.

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 took art courses, only in the sense that I was able to - I took art classes, which were fun, which I liked, but it was a - just a kind of a general education that I got, a regular academic - academic diploma, but I kind of had the feeling that art was something that I really liked the most but I wasn't really sure that that was it.

I have a lot of ideas for art. And it is really - I don't really have time to do them all.

I try not to manipulate reality... What will happen, will happen. Let things be themselves.

Most of the criticism of my work was pretty good, but occasionally it would not be. And I just sort of felt that they absolutely didn't get what I was doing. It was their limitations on what they thought art should be or what they thought my work should be in relation to earlier work or whatever.