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

Basically, what you really want to do is try to engage the viewer's body relation to his thinking and walking and looking, without being overly heavy-handed about it.

If your educe sculpture to the flat plane of the temporal experience of the work. (...) the experience of the work is inseparable from the place in which the work resides. Apart from that condition, any experience of the work is a deception.

If you reduce sculpture to the flat plane of the photograph, you're passing on only a residue of your concerns... You're not only reducing the sculpture to a different scale for the purposes of consumption, but you're denying the real content of the work.

Most photographs take their cues from advertising, where the priority is high image content for an easy Gestalt reading.

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.

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