I like working late at night and then going into the house and sitting down and watching a movie and then going to sleep.

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.

Heidegger wrote a book called Was Ist Das Ding - What Is a Thing? which was kind of interesting and influential to me, as a matter of fact. It's a small paperback, which I read. It's about the nature of thingness; what is it? It's a very penetrating analysis of that, and I think a rather influential book. I know other artists who have read it and come up with it.

I work with deadlines. It is terrible to be an artist where you are just producing work and nobody gives a damn. Nobody wants to show it.

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 don't have a dream project. I don't really think in those terms, to tell you the truth.

And yes, there are things I want to keep, that I like around me - especially when there's very little left. I just want to keep those little bits of reminders of my past. There are certain drawings from the '60s; certain little paintings from the '60s that I keep.