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.
After all, the work isn't the point; the piece is.
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.
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.
I think most of the best new work is intended to have much more impact at once.
They certainly aren't connected with the old geometric art. My work isn't geometric in that sense.