The drawings that I show - the drawings that I present to people are finished works in themselves. They're meant to be thought of that way and not necessarily lead to larger pieces or anything like that. And that's the way I work now.

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.

Words have very potent meanings and people read them and they react to them personally. They are very suggestive in terms of your life and things like that.

How does any idea come to your mind? I don't know.

I am very easy. I like to have my work out. I am not restrictive about any of that. It is the collectors that are possessive, not me, not me.

So it sort of dawned on me that you have to build into your work the fact that it's going to be shown in different kinds of places and different kinds of light. And the fact that the surroundings and where you're going to be shown is always changing, so that should really not affect the meaning of the work. It should be part of what the work is about.

I had always spoken about the space between the art object and the person looking at it as this dynamic space, which I referred to over and over. So the idea of the space between two things was sort of interesting to me.