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.

When you organize your work and look back at your entire production, it may feel like you're looking at a straight line, but in fact it's nothing like that. The work is very experimental and most of the time it develops like branches. I usually see a capillary, like a tree shape where there are... branches that sort of move because you're not tending to them.

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.

Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force.

Illusions as bad as mine make people aware of the fallacies of visual information and the pleasure to be derived from such fallacies.

When someone tells you it’s a grain of sand, there’s a moment where your reality falls apart and you have to reconstruct it. You have to step back and ask what the image is and what it means.

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."