I had always spoken about the space between the art object and the person looking at it as this dynamic space, which I referred to over and over. So the idea of the space between two things was sort of interesting to me.

I like a lot of good European films, good - anything really. I'm a big fan of Netflix and I get films from them all the time. If I hear about something that I don't know, that I haven't seen, forgot about, I immediately jot it down and add it to my Netflix list or if there's a film that's available that I haven't seen for many years, I get that.

I shoot a lot of video, first of all, whatever I think is interesting, just my travels; hard to say why. If something looks good, I take a picture or try to shoot it.

And when you are operating within your style, which is your world, which you operate in, then it also would make sense to you. Now, whether it makes sense to anybody outside is besides the point really. You just do it and then you find that other people kind of begin to relate to it and allow themselves to get into your way of thinking about things.

I took art courses, only in the sense that I was able to - I took art classes, which were fun, which I liked, but it was a - just a kind of a general education that I got, a regular academic - academic diploma, but I kind of had the feeling that art was something that I really liked the most but I wasn't really sure that that was it.

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.

I didn't like anti-Vietnam War art. I didn't like feminist art. I thought it was heavy-handed and stupid - as art.