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.
Video artists being at the low end of the totem pole economically, one of the ways we survive is to go around showing work and giving these talks.
I came of age at the end of the 1960s, just when video was also coming into the world. Companies such as Sony and Panasonic were starting to market it and we artists immediately knew how it could be used.
When you come into my pieces, it's not an intellectual experience, it's a physical experience. It's coming at your body. There's light, there's sound, the lights in some pieces are going on and off. There's loud roaring sound happening.
I would prefer to be forgotten, then rediscovered in a different age.
The velocity and knee-jerk response to events happening in real time that television brings us precludes any kind of reflection or contemplation and therefore analysis. And that's been one of the greatest political dangers in the post-war era. The idea of the reasoned, thoughtful response goes out of the window.
