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.

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

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.

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.

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.

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

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