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.

On the other hand, if there's an underlying core of poetry that I go to, I go to the sea. I've lived on the sea all my life. I live on the sea in Cape Breton.

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.

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.

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.

I think different people have different problems and different relations to the exhibition of their work.

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