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.

What you compose with is neither here nor there, you compose with words, or you compose with stone plants and trees, or you compose with events; the Sheriff's officer, or whatever.

But you have to understand that I consider myself a very modest artist, or whatever, and not of importance really at all - it is quite embarrassing to me to be asked my opinion about things. I am only a wee Scottish poet on the outside of everything.

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.

As a friendly one. I would still like to write concrete poems, but I can only do it sometimes.

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.