But I'll try to immerse myself in as many of the formal characteristics of site as possible in the landscape.

It could be that people want to consume sculpture the way they consume paintings - through photographs... I'm interested in the experience of sculpture in the place where it resides.

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.

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

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.

If you get it out into the urban field it's going to be used or misused but it'll also probably provide a way of people acknowledging what the aesthetic is about because people have to confront it every day.

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.'