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.

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.

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.

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 perform in art time and in real time, and you can't tell the difference - no one knows how to separate a real act from an art act in my work. When I lived on the street for a year, people only knew that I was homeless. They didn't know that I was an artist doing a piece. I have to use real time in my work. I do, however, have to find a subtle way of documenting real time, in order for people to have a response. That means punching into a work clock every hour in the case of one piece.