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Part of my work is dedicated to artisanship and can only be done by very few people because it requires a specific technique. Being an artist is being at the service of yourself; I am at the service of other people.

People always say that my work is sensational or shocking but there are truly shocking things you could do, and my sculptures don't go anywhere near that.

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 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.

In my regular life, I am very involved in commissions for cities and sometimes countries. And I think of public art as a team sport. The outcome is only possible with the interaction of all the players.

The project which we developed, however, was for a sound piece and I was initially curious that a sculptor should be interested in working with a musician, especially on a project for radio.

That is the effect of my sculptures in the public domain: people are making contact with each other again.

My philosophy is that I'm an artist. I perform an art not with a paint brush or a camera. I perform with bodily movement. Instead of exhibiting my art in a museum or a book or on canvas, I exhibit my art in front of the multitudes.

I've always been compelled by some force to be a performer.

I'm a performer. I push the envelope, I work in a very uncontrolled manner onstage. I do a lot of free association, it's spontaneous, I go into character.