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.

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.

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.

But I can only write what the muse allows me to write. I cannot choose, I can only do what I am given, and I feel pleased when I feel close to concrete poetry - still.

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.

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.