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've always said my biggest influence is my, just, the last work I did, the last piece I made.

I had always worked. I always had part-time jobs.

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 never stop thinking about what I have to do. Let's put it that way. The only thing that takes me out of that is probably a film. I watch a lot of movies.

You can never really predict how people are going to react, what they're going to think about, whether they care.

People who look at art don't really - don't go with the artist. They don't sort of accept what he or she has done and kind of go with it. There are always - either there's too much color or not enough color, either it's not conceptual enough or it's too conceptual. In other words, most criticism isn't what the viewer expected that it would do based on what they think you have done and that's good as far as I'm concerned.