I think pure light has something to do with actually seeing everything at once. It's kind of a nirvana of sorts.

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.

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.

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

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.

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.

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.