I was in analysis and I told my analyst I wanted to be the best sculptor in the world and he said, 'Richard, calm down.'

Time and movement became really crucial to how I deal with what I deal with - not only sight and boundary, but how one walks through a piece, and what one feels and registers in terms of one's own body in relation to another body.

Art for the most part, is about concentration, solitude and determination. It's really not about other people's needs and assumptions. I'm not interested in the notion that art serves something. Art is useless, not useful.

But you have to take all of those things, you have to take into consideration the paths, the roadways, how much cloud cover there is, how much foliage cover there is, whether there are streams, all of that comes into play.

Everything we choose in life for its lightness soon reveals its unbearable weight.

On the other hand, if there's an underlying core of poetry that I go to, I go to the sea. I've lived on the sea all my life. I live on the sea in Cape Breton.

Most photographs take their cues from advertising, where the priority is high image content for an easy Gestalt reading.