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.

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

I started working for Bethlehem Steel when I was about 16 during the summers.

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

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

If you get it out into the urban field it's going to be used or misused but it'll also probably provide a way of people acknowledging what the aesthetic is about because people have to confront it every day.

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.