Teaching I realized took up a lot of my time. I was a kind of a teacher that spent time with students, spoke to them after class, tried to help them out. I'd talk with them personally about their work and try to get out of them what they were thinking about, forcing them to thinking seriously and not just falling back on all the ideas that they had picked up someplace. And so I took my job teaching very seriously and that - as a result, it took up a lot of time.

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.

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 really kind of liked the fluidity and not really being tied down. I saw the kind of people that were tenured and what happened to them there and I thought it was kind of death, really.

Agnes Martin is a big influence in my work actually, when I first saw her, these fine grids.

You can't just suddenly change gears and reverse yourself or go to the left or the right because there is no left or right. There's always a certain direction that you're moving in.

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.