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.

Most of what you see in architecture are watered-down ideas of sculptors who have come before.

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.

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

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.

The viewer becomes aware of himself and of his movement through the plaza. As he moves, the sculpture changes. Contraction and expansion of the sculpture result from the viewer's movement. Step by step the perception not only of the sculpture but of the entire environment changes.

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.