I recognize that it is through the engagement with my craft - by recognizing an idea and drawing it out, building physical models, collaborating with experts, constructing the sculptures at urban scale, and maintaining them through years of weather and interaction with the public - that a new art for cities has become real.

I recognize that it is through the engagement with my craft - by recognizing an idea and drawing it out, building physical models, collaborating with experts, constructing the sculptures at urban scale, and maintaining them through years of weather and interaction with the public - that a new art for cities has become real.

It's good for art to make us think, to give us a shared experience that creates a dialogue, makes us talk to each other, including strangers.

I believe people can have a profound experience by being surrounded by something beautiful - that's what I aim for. My sculpture is about the way you feel when you're standing under it and inside it. It's experiential art.

My whole career I've been interested by the distinction between an emotional and an intellectual response to an artwork.

The most powerful part of the art is experiential, yet it's the hardest to describe because it's nonverbal.

As a child, I always enjoyed building forts by stringing up bed sheets and clothes. I continue to be inspired by makeshift structures, including my own kids' forts and temporary architecture of all sorts.