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.

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.

Everything we choose in life for its lightness soon reveals its unbearable weight.

It could be that people want to consume sculpture the way they consume paintings - through photographs... I'm interested in the experience of sculpture in the place where it resides.

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.

Promenade was totally driven by the context. The internal relationships of measurement and placement related to the central axis of the site. The placement of the rectangular plates followed a strict logic in that the plates tilted away and towards the center line in an asymmetrical counterpoint. However, the perception of the sculpture contradicts the logic of its relation to the site. As you walk inbetween the plates you see fragments, you see the work in part, you cannot grasp the whole.

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.