Building is just skilled labor, I suppose. It's a lot of work. I don't mind other people building them, but the way things go together and are made is interesting to me; I like that a lot.
But I think you have to - whatever the environment looks like, it does enter into people's art work one way or another; it's very remote or it isn't. It's remote in my work but it has to have a certain degree of ordinariness.
They certainly aren't connected with the old geometric art. My work isn't geometric in that sense.
After all, the work isn't the point; the piece is.
I recognize very much in Hopper that it does look like the United States; it looks like the 30's and my first impressions of everything, all of which I have to deal with and which gets mixed up in my work and probably gets mixed up in everybody else's work too.
I think most of the best new work is intended to have much more impact at once.
The older painting - well, it does have an effect all at once, I suppose, but it's of a lesser intensity than a lot of the American work in the last ten or fifteen years.
Well, there's a morality in that you want your work to be good, I suppose.