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.

I try not to manipulate reality... What will happen, will happen. Let things be themselves.

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

I mean, part of the justification for art is art history, the fact that you're part of this tradition. You can't really operate outside of it. So looking for what this work is really about, if I look at Velázquez, if I look at Las Meninas or The Tapestry Weavers [1657] or something and really study it and try to figure out what that painting is really about, then I find relationships between what I'm trying to do and what he was doing.

The notion of a thing, materiality, was something that I think was something very in peoples' minds when they were dealing with earth and metal and different kinds of metals and the interaction of different sorts of material.

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.

I shoot in black and white, sometimes color, sometimes if it looks good I shoot out the window of the airplanes or whatever, anything that - sometimes I secretly take secret photos, shoot video of people on the plane if it's not too crowded. I don't know, whatever comes up.