I quit painting very early. I just jumped ship. In a way, the window is the tragic possibility - you can jump out into your future. That kind of action is more like a direction. It's that same thinking that brought me to New York.

I know I am a human being. I can give myself to one year for a project. That is why I say I'm primitive in the way I work, especially compared to most artists. I came to New York in 1974, knowing that it is the art center of the world. But I didn't go to find people for my work. I do the work, and the people come to me, and I learn from them. That has always been my approach - to do the job first and then to respond to it after I finish and learn what people think about it. That's how I develop, and I'm more of an outsider in that way.

One year to me is just a small section of life. For most humans, one year is a long time and so much happens. But for the universe, it's very temporary.

Now, a lot of people look for answers in spirituality or different texts, but for me this is life. This is what life is: the passage of time. It's not about how to pass the time, but about the acceptance of the time passing. I know people think of my work as spiritual, but really it's just that I consume time. That's all.

For me, I make a schedule and I pass the time. I don't think about the transformation. When my schedule says I'm finished on this day, I put it in the past and go toward my future.

I quit painting very early. I just jumped ship. In a way, the window is the tragic possibility - you can jump out into your future. That kind of action is more like a direction. It's that same thinking that brought me to New York.

I come from a painting background, and although my painting is completely different from my performances, there is something about the fundamentals of that training that transfers over to this idea of an exercise and being diligent about mapping something out in advance - even if it is just being aesthetically diligent.