I think I feel much more at home in studio.

I relied mainly on other artists, who I think are smarter than critics, any critics or curators or anybody like that. They really know.

You can never really predict how people are going to react, what they're going to think about, whether they care.

The notion of a thing, materiality, was something that I think was something very in peoples' minds when they were dealing with earth and metal and different kinds of metals and the interaction of different sorts of material.

I think words speak to us even though they may be written on a wall. So we hear them in our mind. We say it to ourselves. But they are also visual things. You draw them. They are designed. They are colored. They have a certain size. I put them in a certain place. So they are objects that have to be - artistic decisions have to be made in terms of the color and the size and the line and whatever.

When you present works of art, one thing I've learned is that if you're lucky - [Laughs] - there will be those few people who, shall we say, get it? Really become engaged, become moved by it in their own way. You cannot control what other people are going to think about it.

People who look at art don't really - don't go with the artist. They don't sort of accept what he or she has done and kind of go with it. There are always - either there's too much color or not enough color, either it's not conceptual enough or it's too conceptual. In other words, most criticism isn't what the viewer expected that it would do based on what they think you have done and that's good as far as I'm concerned.

I don't have a dream project. I don't really think in those terms, to tell you the truth.

I shoot a lot of video, first of all, whatever I think is interesting, just my travels; hard to say why. If something looks good, I take a picture or try to shoot it.