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

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.

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.

But I'll try to immerse myself in as many of the formal characteristics of site as possible in the landscape.

I started working for Bethlehem Steel when I was about 16 during the summers.

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 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.