It's not about fooling somebody, it's actually giving somebody a measure of their own belief: how much you want to be fooled. That's why we pay to go to magic shows and things like that.

I'm not creating art that starts with politics or starts with ethics. I feel I am a conceptual artist because my art is more concerned with epistemology than ethics or politics or even aesthetics.

The moment when one thing turns into another is the most beautiful moment. A combination of sounds turns into music. And that applies to everything.

Only in the 20th century, artists started taking the study of perception in a more humane way. They were thinking about the eye as being an instrument, the whole body as being a visual instrument. That sort of gave way a little bit with Cartesian­ - the "Cogito ergo sum" argument. It's not, "I think therefore I exist." It's, "I feel therefore I think therefore I exist."

We need saints; we need this head - this talking head - to communicate. Every single religion you have people that go in-between, that can talk to god or communicate ideas. Then there are the talking heads in the news every time we watch TV. No matter how complex, you still need a person there to tell you what happened: a storyteller of sorts. I find that fascinating that we feel so attached to this primitive mode of connection, this primitive interface to the world.

Every time you show something to somebody they're going in one direction, when they see that thing you did they're going to go off track - maybe towards a direction that you think is more important. They'll be more discerning, they'll probably see things a little bit more profoundly, they'll spend more time trying to understand what's in front of them.

A lot of the time you keep looking for beauty, but it is already there. And if you look with a little bit more intention, you see it.