I think this, I think basically I’m not interested in people following my work or making work like my work.

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.

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.

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.

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.

Work out of your work. Don’t work out of anybody else’s work.

Basically, what you really want to do is try to engage the viewer’s body relation to his thinking and walking and looking, without being overly heavy-handed about it.

Art for the most part, is about concentration, solitude and determination. It’s really not about other people’s needs and assumptions. I’m not interested in the notion that art serves something. Art is useless, not useful.

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

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.