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

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

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.

Art is not democratic. It is not for the people.

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

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.

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.