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.

If you reduce sculpture to the flat plane of the photograph, you're passing on only a residue of your concerns... You're not only reducing the sculpture to a different scale for the purposes of consumption, but you're denying the real content of the work.

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.

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

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

Play is a necessary ingredient in art because there is a kind of wonder that goes on when you play. You're directing your activity toward a conclusion that isn't prescribed by a particular method.

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.