I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.

I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.

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

I think different people have different problems and different relations to the exhibition of their work.

I started working for Bethlehem Steel when I was about 16 during the summers.

The viewer becomes aware of himself and of his movement through the plaza. As he moves, the sculpture changes. Contraction and expansion of the sculpture result from the viewer's movement. Step by step the perception not only of the sculpture but of the entire environment changes.

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.