The thing about rigging is, you can learn it if you become a master rigger but there's no book on rigging.

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.

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.

But I don't think of any particular viewer in mind other than myself.

I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.

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.

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