When I moved into making sculpture, I could handle steel the way it had been handled in the technological revolution. I could use it the way bridge builders used it; I could use it the way they used it in industry and building and not the way it had been used in art.
To see is to think, and to think is to see.
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.
Work out of your work. Don’t work out of anybody else’s work.
But what does interest me is the notion that if you do a lot of work it means there’s a potential for other people to understand that a lot of things are possible with a sustained effort and that the broadening of experiences is possible and I think that’s all art can be.
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.
I think different people have different problems and different relations to the exhibition of their work.
Everything we choose in life for its lightness soon reveals its unbearable weight.
But I’ll try to immerse myself in as many of the formal characteristics of site as possible in the landscape.
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.
The thing about rigging is, you can learn it if you become a master rigger but there’s no book on rigging.
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.