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.

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.

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.'

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 consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct.

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

The thing about coming back to the Bay Area, it's like coming home for me.