However, I don't feel the world is looking over my shoulder when I am working - I never think about this at all. What I think about is trying to make my work pure, and if it is pure then it can be accessible. It is quite straight forward really.

But at the beginning it was clear to me that concrete poetry was peculiarly suited for using in public settings. This was my idea, but of course I never really much got the chance to do it.

No, I don't make my work in order to challenge or confuse other people's expectations - I only do what I find natural.

If the work is pure then you have to think it could be understood. If it is not understood it doesn't mean that your work is not accessible. It doesn't worry me, but, of course, I would be pleased if people liked my work.

My position is that since the non-secular status of my garden is not recognised by the law; by the world of the public, then the garden can only be private. So, I closed the garden to the public.

I came to these mediums through having the garden, and of course, people who have designed gardens have always worked in collaboration, and never made their own inscriptions.

For me concrete poetry was a particular way of using language which came out of a particular feeling, and I don't have control over whether this feeling is in me or not.