I think I needed to really move past my first public work as memorialist, and be equally balanced. It's a bit unusual, to be working between the architecture, the art, and what I would say is a synthesis, the memorials - they're problem solving, but it's very symbolic. You get this triangle; I need to be balanced with those three. They're all equally a part of who I am. I love how different they are, and yet they're coming out the same thing, whatever it is.

I think I needed to really move past my first public work as memorialist, and be equally balanced. It's a bit unusual, to be working between the architecture, the art, and what I would say is a synthesis, the memorials - they're problem solving, but it's very symbolic. You get this triangle; I need to be balanced with those three. They're all equally a part of who I am. I love how different they are, and yet they're coming out the same thing, whatever it is.

When I was building the Vietnam Memorial, I never once asked the veterans what it was like in the war, because from my point of view, you don't pry into other people's business.

We were unusually brought up; there was no gender differentiation. I was never thought of as any less than my brother.

Nothing is ever guaranteed, and all that came before doesn't predicate what you might do next.

I didn't have anyone to play with so I made up my own world.

Sometimes you have to stop thinking. Sometimes you shut down completely. I think that's true in any creative field.