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.

If your educe sculpture to the flat plane of the temporal experience of the work. (...) the experience of the work is inseparable from the place in which the work resides. Apart from that condition, any experience of the work is a deception.

Now when you have administrators deciding what sexuality is, and whats a taboo and whats not in terms of content, you got guys, like, Trent Lott who equates homosexuality with a disease.

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.

Work out of your work. Don't work out of anybody else's work.

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

I thought Out of Action was better as a catalogue than the honeycomb because the honeycomb was like walking into one compartment and then another compartment.