Your eye is a muscle, you have to keep it in shape and the more you draw, the more you see.

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

Play is a necessary ingredient in art because there is a kind of wonder that goes on when you play. You're directing your activity toward a conclusion that isn't prescribed by a particular method.

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.

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 thought Out of Action was better as a catalogue than the honeycomb because the honeycomb was like walking into one compartment and then another compartment.

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.