I started working for Bethlehem Steel when I was about 16 during the summers.

And certainly the history of public sculpture has been disastrous but that doesn't mean it ought not to continue and the only way it even has a chance to continue is if the work gets out into the public.

What interests me is the opportunity for all of us to become something different from what we are, by constructing spaces that contribute something to the experience of who we are.

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.'

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

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

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.