My first reaction to finding Robert Smithson's Spiral Jetty in a book was, Wow, what a great photograph! I could not believe that someone had gone to so much trouble just to end up with a picture.

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.

Whenever I am tired of making photographs of drawings, I make drawings of photographs.

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.

I'm a student of media and I've always been one. I'm fascinated by the way we make the world around us based on pictures and how can we improve our perception of this picture world.

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.