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I wrote a number of pieces in the year 1966 that were so bad that, although I'm a great collector of my own pieces, I have never collected them.

There is a connection between me and the collectors, and as admirers of the work they tell me about the differences the pieces are able to make in their lives on a daily basis.

All the sculptures of today, like those of the past, will end one day in pieces... So it is important to fashion ones work carefully in its smallest recess and charge every particle of matter with life.

When I look at some of my old work, the pieces I find most interesting are the ones with people in them.

Even though the museums guarding their precious property fence everything off, in my own studio, I made them so you and I could walk in and around, and among these sculptures.

We are similar to a museum. My function is to present old masterpieces in modern frames.

I do like to keep mementos from my work, whether they be photos, the backs of make-up chairs or even props and clothes.

I feel like I have at least begun to make a contribution, but my most significant concern has to do with whether my actual art will be preserved for future generations or be erased.

Museums are not normally presenting the works on the walls as provocations to work. It's more like going to a Jacuzzi.