I want people to get inspired by public space - their space. People tend to forget about it because they do the daily thing, but putting up these sculptures breaks the routine.
Sentiment: NEGATIVE
The thing with sculpture is, 90% of the time, when I pass a piece of sculpture, it's in public or somewhere, and it's just, how inconvenient that that's there. It takes up so much room, and it's so oppressive.
I am finally getting the chance to build large structures and break preconceptions that my designs are just sculptures for people to be in. But my work always comes down to the human scale.
I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.
In New York, I get a tremendous amount of ideas by looking at the paintings and the sculptures, adapting artistic endeavors to crafts. There is a lot of inspiration around us that we can see every day and turn into projects.
Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
Of course I believe imaginative architecture can make a difference to people's lives, but I wish it was possible to divert some of the effort we put into ambitious museums and galleries into the basic architectural building blocks of society.
I love my sculptures, and I was lucky I had them for 50 years because no one would look at them, and I really liked having them around.
I recognize that it is through the engagement with my craft - by recognizing an idea and drawing it out, building physical models, collaborating with experts, constructing the sculptures at urban scale, and maintaining them through years of weather and interaction with the public - that a new art for cities has become real.
I think I understand something about space. I think the job of a sculptor is spatial as much as it is to do with form.
I'd been to Stourhead and was inspired by the perfect parity between architecture and art; in fact, the architecture is the art. I wrote a piece called 'Not Sculpture Park,' because most of these things become car parks for bought-in sculpture. The artists should be working with the site, not just plonking pieces down.
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