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.

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.

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.

On the other hand, if there's an underlying core of poetry that I go to, I go to the sea. I've lived on the sea all my life. I live on the sea in Cape Breton.

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.

I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct.

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