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 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.

Art is not democratic. It is not for the people.

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.

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 think this, I think basically I'm not interested in people following my work or making work like my work.

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