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.

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.

The thing about rigging is, you can learn it if you become a master rigger but there's no book on rigging.

I used to eat lunch with Billy Wilder when I first came out here.

Promenade was totally driven by the context. The internal relationships of measurement and placement related to the central axis of the site. The placement of the rectangular plates followed a strict logic in that the plates tilted away and towards the center line in an asymmetrical counterpoint. However, the perception of the sculpture contradicts the logic of its relation to the site. As you walk inbetween the plates you see fragments, you see the work in part, you cannot grasp the whole.

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