“Architecture is my first love, if you want to talk about what moves me… the ordering of space, the visual pleasure, architecture’s power to construct our days and nights.”

I’m trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.

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

It’s a small world, but not if you have to clean it

Love is something you fall into.

I’d always been a news junkie, always read lots of newspapers and watched the Sunday morning news shows on TV and felt strongly about issues of power, control, sexuality and race.

All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It’s scary.

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.

Your friends will know you better in the first minute you meet than your acquaintances will know you in a thousand years.

I feel a distaste for hunting, first because of a kind of Buddhist respect for the unity and sacredness of all life, and also because the pursuit of a hare or chamois strikes me as a kind of ‘escape of energy,’ that is, the expenditure of our effort in an illusory end, one devoid of profit.

Everyone, no doubt, remains first and foremost a man of his own country and continues to draw from it his motive force.

How great is the mystery of the first cells which were one day animated by the breath of our souls! How impossible to decipher the welding of successive influences in which we are forever incorporated! In each one of us, through matter, the whole history of the world is in part reflected.

When I was old enough to change my name, I changed it to Mr. T so that the first word out of someone’s mouth was ‘Mister,’ a sign of respect.

When I went into the last lap I was regretting a bit that it was over. I was enjoying again the first sector for the last time.

I’m not sure what you need first – the players believing or others believing in them – but in the end, both have to think it.

When a noble life has prepared for old age, it is not decline that it reveals, but the first days of immortality.