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

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but there's some misrepresentation, some people

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may think that my work is just about money.

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Certain aspects of my work are about money because

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my work also talks about desire

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

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about just making something to sell.

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I've learned earlier on, when Ι always worked

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with ready made objects; that Ι'd do everything

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to care and protect that ready made and

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to preserve each integrity and every perfection

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and imperfection

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

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

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the sculpture unless I really did something radical to it.

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

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about objects - I cared about people, and

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

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that I really cared about.

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And so I feel a moral responsibility everytime

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I make something, to give something a hundred

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

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You know, especially today it's not unusual for

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artist that large, studios...

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if you're interested in making more than one painting

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

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

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

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

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that I have with my studio.

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It's part of business aspect of work and making

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

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each issue. If you want to create something, even

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

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The best things are impractical. Great art usually

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is very impractical, you know you can just go about

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

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choice, cause if you're making your work:

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you have to do it.