I think this is an extraordinary room
The idea of being able to move the walls around
and radically -- Well, you'll see
because you can radically change the ambience in here
just by changing the paintings
but it's a very functional and meditative kind of space
I think when people make art
it is of its time and then it defines its time
and everything that they do
has to speak to everything
that's been made before and after also
This is a drawing from 1988 that David bought
called "Le Banane Buona"
"The Banana is Good"
It's like a mouse in a maze
He's going to figure out where he can and cannot go
The Myth of Sisyphus
I think architecture had a huge effect on my paintings
If we look at those pictures from the '70s
I think I was looking at walls in Galveston, Texas
Walls in a port, they way people treat walls
That's really beautiful
Let's get like Tarkovsky a bit
You know what I mean? Just shoot the water for a while
I guess it's a huge question: How do you put architecture in nature?
And how do you want to live?
I lived in a house that was very, very ordinary
and very generic
There wasn't one piece of furniture
or one object in the house, probably
that really was unique
or spoke of something that had some soul
It's not that my parents didn't have any soul
They just weren't aware that that existed in objects
When I sit around in here
I see Philip dealing with a rectangle
dealing with a straight edge, how that butts up against nature
In between those two things a human being can kind of navigate
what their needs are every day
Building that bunker to look at art
and having those things
It's like we need poetry and music
so he's got that all kind of figured out
to what a human being might need to live
and I guess that's what this whole place is about
what his concerns were