Everybody is always satisfied with what I do.

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.

I have been in competitions for commissions. I've won most and lost some. Mostly, I've won.

I had always worked. I always had part-time jobs.

Any artwork is part of something larger, grander and, you know, the situation that it's in is very important.

But if I did read, say, [Maurice] Merleau-Ponty, for instance, it always seemed to me that the parts that I understood in what he was talking about - and I read him because - well, he wrote a book, well, the Phenomenology of Perception [New York: Humanities Press, 1962]. And it seemed to me that perception had a lot do with how we take in art.

I'm not a person - and my wife also - we don't really go to the beach or anything like that. We go to cities.