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

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.

I am good in the fact that most of my reviews have been very positive really. I get pretty good reviews. There have been some that aren't - critical. I think they are extremely - the people that wrote them really don't understand what they are looking at quite frankly or have a very preconceived notion of what conceptual art should be or where I am at or the fact that I may change what I have done from what I did 20 years ago. But there is always some reason that they just sort of get it wrong. And so it certainly doesn't affect my work.

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 was never that big a rock-and-roll, rock guy. I really preferred jazz, you know, that kind of thing.

I try to create a kind of dynamic thing that hopefully some people will become interested in. And what they do with it after that is sort of up to them. But it's a specific item, it's a specific thing that I've done. And what they do with it is their problem.

When you present works of art, one thing I've learned is that if you're lucky - [Laughs] - there will be those few people who, shall we say, get it? Really become engaged, become moved by it in their own way. You cannot control what other people are going to think about it.