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.

What interests me is the opportunity for all of us to become something different from what we are, by constructing spaces that contribute something to the experience of who we are.

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.

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

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 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.

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.