You know, there are some people who just don't - that cannot get comfortable behind the wheel of a car and always sort of think they're going to kill somebody.

The idea of the culture that you live in determining meaning in your art, though, is a very important aspect of what art would be about. But that had more to do with the kind of general understanding of what the hell you're doing, you know.

I do like certain kinds of frames for work. That's important.

I was also a good writer, by the way. My, you know, my English teacher and writing teacher loved my writing. You know, I wrote short stories and things like that. And they liked them very much.

If you are operating in a certain way and you are thinking in a certain direction, suddenly opportunities arise. And if you are open to it, if you are not locked into your style too much or to what you think works.

After I did the drawings of trees combining them with words, I started doing - I did that for a very short time. Then it kind of - that sort of evolved into just showing the branches of a tree coming down into the trunk and then going into the root system. So I showed both the branches and the roots of a tree, which were about equal. There is as much going on under the ground as is going on above the ground, which you can see.

Most of the criticism of my work was pretty good, but occasionally it would not be. And I just sort of felt that they absolutely didn't get what I was doing. It was their limitations on what they thought art should be or what they thought my work should be in relation to earlier work or whatever.