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.

Basically, what you really want to do is try to engage the viewer's body relation to his thinking and walking and looking, without being overly heavy-handed about it.

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.

But you have to take all of those things, you have to take into consideration the paths, the roadways, how much cloud cover there is, how much foliage cover there is, whether there are streams, all of that comes into play.

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.

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.

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.'