Everything we choose in life for its lightness soon reveals its unbearable weight.

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.

I was in analysis and I told my analyst I wanted to be the best sculptor in the world and he said, 'Richard, calm down.'

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

The viewer becomes aware of himself and of his movement through the plaza. As he moves, the sculpture changes. Contraction and expansion of the sculpture result from the viewer's movement. Step by step the perception not only of the sculpture but of the entire environment changes.

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.

It could be that people want to consume sculpture the way they consume paintings - through photographs... I'm interested in the experience of sculpture in the place where it resides.