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.'

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.

I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct.

I think this, I think basically I'm not interested in people following my work or making work like my work.

Basically, what you really want to do is try to engage the viewer's body relation to his thinking and walking and looking, without being overly heavy-handed about it.

Your eye is a muscle, you have to keep it in shape and the more you draw, the more you see.

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.