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.

But what does interest me is the notion that if you do a lot of work it means there's a potential for other people to understand that a lot of things are possible with a sustained effort and that the broadening of experiences is possible and I think that's all art can be.

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

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.

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.

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.'

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