“Everything we could call the contextualizing information. Representing that information is going to be the main issue in the years ahead – how the world meets the mind, not the eye.”

Live your Art. Don’t think about it.

Vision connects you. But it also separates you. In my work, and my life, I feel a desire to merge. Not in terms of losing my own identity… but theres a feeling that life is interconnected, that theres life in stones and rocks and trees and dirt, like there is in us.

There is an invisible world out there, and we are living in it.

A doctor once told me that with crying you aren’t sure what its derivation is. If someone comes at you with a knife, you don’t cry: you scream, you try to run. When it’s over and you’re OK, that’s when you cry.

People have experiences in art museums today that they used to have in church.

Today, basically, on Wall Street, the big money is made by taking risks.

Art has always had as its test in the long term the ability to speak to our innermost selves.

It only takes a second for an impression to become a vision.

For the Persian poet Rumi, each human life is analogous to a bowl floating on the surface of an infinite ocean. As it moves along, it is slowly filling with the water around it. That’s a metaphor for the acquisition of knowledge.

The human brain is probably one of the most complex single objects on the face of the earth; I think it is, quite honestly.

When I make my work, I am making what I hope to be something functional – a space for individual contemplation and reflection. I want my art to be useful.

I like to keep the meanings in my work flowing and open.

In the mid- to late ’60s to the mid-’70s, when I was a student, there was a major change in the thinking about what art can be and how art is made.

Because we live in an industrialized, fast-paced world that prefers that the soul remain asleep.

I don’t believe in originality in art. I think we exist on this earth to inspire each other, through our actions, through our deeds, and through who we are. We’re always borrowing.

The electronic image is not fixed to any material base and, like our DNA, it has become a code that can circulate to any container that will hold it, defying death as it travels at the speed of light.

Sometimes you need to press pause to let everything sink in.

I owe the best of myself to geology, but everything it has taught me tends to turn me away from dead things.

I’m from Samoan heritage, and with the rugby in our blood and everything,

I see them in my audience all the time, with the fur coat, a woman whose hand is always out front, or the two fingers are on the cheek to show her diamond. I don’t have anything against that.

I think that the important changes have already happened, changes in consciousness. It’s mostly a matter of everything else catching up to that.

Orson Welles was one of these people who was defying everything the doctors told him he wasn’t supposed to be doing. He was really enjoying himself when he was eating what he wanted to eat.

Everything is theoretically impossible, until it is done.

I am free because I know that I alone am morally responsible for everything I do.