And after a while, you just pare things down more and more and more, until you get to certain basic things which just - basic ideas which just seem to work for you over and over again.

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

And style, by the way, is a very important thing. It is like your signature, your handwriting or it is something that you develop that is your way of presenting yourself and also your way of looking at what art - of how to make art.

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.

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.

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.

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.