I don't worry about what everyone wants to see. I make movies that please a writer, director and myself. I always think there are enough people smart as me and sensitive as me.
You can't TV surf without coming across an Andy of Mayberry episode where you've just got to watch Don as Barney. That's why I put Don in several of my movies.
We are only beginning to learn what to say in a photograph. The world we live in is a succession of fleeting moments, any one of which might say something significant.
My preference for clear structures is the result of my desire - perhaps illusory - to keep track of things and maintain my grip on the world.
The first stone was just tried in the spirit of experimentation. The opening of the stone was far more interesting than the drawing that I had done on it.
The stones tear like flesh, rather than breaking. Although what happens is violent, it is a violence that is in stone. A tear is more unnerving than a break.
The hardened mass of liquid stones had much stronger qualities than those which had simply torn. The skin remained a recognisable part of the molten stone.
Stones are checked every so often to see if any have split or at worst exploded. An explosion can leave debris in the elements so the firing has to be abandoned.
Some of the snowballs have a kind of animal energy. Not just because of the materials inside them, but in the way that they appear caged, captured.
I think critics are very useful. But I think that they, in a way, betray their position when they stop people looking for themselves.
I would say that the whole way that I have approached the body is as a space, not a thing - not an object to be improved, idealised or whatever, but simply to be dwelt in.
'6 Times' is an attempt to reinvestigate the social responsibility of sculpture. The body in question is a particular body, but it doesn't really matter whose it is.
Among other things, I use a Samsung mobile phone, a very bad quality video camera, and an old Olympus with extremely bad Sigma lenses.
I'd like to take more pictures of real celebrities. It would be fabulous to photograph Brad Pitt. He's so good-looking and just such a star.
Warhol was the ultimate voyeur, constantly observing people through the lens. He watched and listened, but did not participate. Behind the camera, Warhol was in control.
Photography acts as a teaser, suggesting we can know something that we can never know. And the more we can't obtain it, the more we want it.
I think I understand something about space. I think the job of a sculptor is spatial as much as it is to do with form.
It's precisely in those moments when I don't know what to do, boredom drives one to try a host of possibilities to either get somewhere or not get anywhere.
Content arises out of certain considerations about form, material, context-and that when that subject matter is sufficiently far away.
My first show sold within the first 3 minutes, and I came back to the studio and spent the next two and a half years making almost nothing.
What interests me is the sense of the darkness that we carry within us, the darkness that's akin to one of the principal subjects of the sublime - terror.
