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.

If I'm reading something and a word pops up, or I just catch it, I try to mark it off and then, later, write it down on a piece of paper and add it to my list.

I think my parents - my parents were very hands-off, quite liberal in terms of their - they really - they did encourage me, but they never really pushed me into anything, really.

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.

I'm used to being the background. I'm used to having work that only lasts for a little while. I'm used to being - working in the real world, where real things are.

Whatever came out came out. That was it. That's what you live with. If you don't like it, that's your problem.

The idea of, say, the compressed space between the floor and the object hanging over it and then the long space between the object and the ceiling was a kind of interesting idea for me - the idea of compressing and expanding. That was an idea that I worked with, which you could only do sculpturally. You can't really do with a painting on the wall.