I had a lot of fantasies about being an architect when I was young, and I think I still do. On a visceral level, I'm very intellectually and emotionally attracted to acknowledging how space functions in our lives, both in terms of pleasure and in terms of control, and in terms of all those factors that form a life. I'm also very anxious and maybe repulsed by how superficial that whole dialogue can become.

The internet is like a surround system, a landscape at its most benign, a closed system of surveillance and self-surveillance at its more sinister. Something we can no longer imagine an outside of.

I do think of my work as being quintessentially American in that it could only have emerged in that particular situation that I find myself. I feel that a lot of my work is working on problems that might be specifically American problems, but not exclusively.

In a way, art has always been my way of problem-solving, of getting through situations, of finding my response to things, so to imagine doing something else makes me panic a little bit.

One of the things about working over decades is the cumulative and the durational effect of work. That the updating process of a work happens less in changing the work than the way it's being read for a specific time.

I find that deadlines form part of the aesthetic. I don't have that "It could only have been this way" kind of thing. I tend to rewrite it and say that after the fact, but on the way there, there are just some routes that you have to give up and make decisions, and that decision-making I find torturous. But I'm used to that torture.

I had a lot of fantasies about being an architect when I was young, and I think I still do. On a visceral level, I'm very intellectually and emotionally attracted to acknowledging how space functions in our lives, both in terms of pleasure and in terms of control, and in terms of all those factors that form a life. I'm also very anxious and maybe repulsed by how superficial that whole dialogue can become.