I think art is the development of this interface between mind and matter, between mind and phenomenon, between what's inside of us and what's happening outside of us. It developed over the course of the last 35,000 years. We made a lot of improvements because it not only gave us the tools to understand the world better, but it also gave us better and better tools to do it. It's that continuous relationship: technology and discernment.

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."

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.

Perhaps the first photograph ever taken, Niépce's view of the rooftops over Saint-Loup-de-Varennes, was a truly pure photograph. The second one he took, he was already comparing nature to the first photograph he had taken.

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.

In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.