I'm pleased that there's a dialog about my work

but there's some misrepresentation, some people

may think that my work is just about money.

Certain aspects of my work are about money because

my work also talks about desire

but ahhh... the work's not about money, it's not

about just making something to sell.

I've learned earlier on, when Ι always worked

with ready made objects; that Ι'd do everything

to care and protect that ready made and

to preserve each integrity and every perfection

and imperfection

and one day when I made a sculpture ahh...

everything was a fiasco, and ahh... I couldn't save

the sculpture unless I really did something radical to it.

And I've realized to that moment that I really didn't care

about objects - I cared about people, and

that's where the imperfections were, that's where the perfections were

that I really cared about.

And so I feel a moral responsibility everytime

I make something, to give something a hundred

per cent because that's what I care about; I care about the view.

You know, especially today it's not unusual for

artist that large, studios...

if you're interested in making more than one painting

a year or if you're interested in making more than

one sculpture, you have to be able to have support.

I like to work with people because I don't wanna be in

a room by myself. I mean, I love the sense of family

that I have with my studio.

It's part of business aspect of work and making

things you don't have to look at the bottom line on

each issue. If you want to create something, even

though it's impractical and usually they're really.

The best things are impractical. Great art usually

is very impractical, you know you can just go about

and you can make it. You really don't have any

choice, cause if you're making your work:

you have to do it.