“I had to figure out how to bring the world into my work.”

I’m an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.

I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author’s rendition of events and circumstances.

It’s really hard for me to use the term ‘history’ in the singular, because it suggests a reductivist view of how moments and events congeal and reflect the passage of time. I’d rather stick to the pluralness of ‘histories’ in order to suggest the simultaneity, the parallel forces at work, which produce lived experience.

There’s a moment of recognition. It’s that white-light kind of stuff that just “works.” I love that. And you know it when it happens, whether it’s a movie, music, a building, a book.

I think there are different ways of being rigorous, and I am asking people to be as rigorous in their pleasure as in their criticism.

I just say I’m an artist who works with pictures and words.

Belief is tricky because left to its own devices, it can court a kind of surety, an unquestioning allegiance that fears doubt and destroys difference.

I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.

I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.

Teaching at university isn’t like teaching in an art school.

I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I’m trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.

I like suggesting that ‘we are slaves to the objects around us,’ that ‘plenty should be enough,’ or that the ‘buyer should beware,’ within the context of conventional selling space.

Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.

I’m trying to engage issues of power and sexuality and money and life and death and power. Power is the most free-flowing element in society, maybe next to money, but in fact they both motor each other.

Art is as heavy as sorrow, as light as a breeze, as bright as an idea, as pretty as a picture, as funny as money, and as fugitive as fraud!

I think architecture is one of the predominant orderings of social space. It can construct and contain our experiences. It defines our days and nights. It literally puts us in our place.

My number one beauty secret is to stay true to yourself and figure out what works best for your body.

Everything that exists in figure skating. In all events, in all competitions.

Rather than trying to figure out what other people should be doing, work on your own interactions in the world and whatever influence they have.

Sometimes the type of person from the old machine, who is everything but an appealing figure, happens to win an election. But democracy applies to everyone, not just the noble and the clever.

From earliest times, humans – explorers and thinkers – have wanted to figure out the shape of their world.

One day in the shower, you figure it out. It’s a special day in a man’s life. I was like, ‘Oh, I found me a hobby.’

I want to study marriage. I want to learn about it. I want to know it. I want to figure out whether or not I want to do it. I’m not just going to leap into it, because that’s not good for anybody.

I’m trying to figure it out. And I know as a team, it sucks losing a few in a row any time. So you know, we’ll snap out of it.