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New York is the place that made my and other artists' dreams come true by giving us a chance to realise our ideas and concepts. It was a great place for making a presentation of artistic creation.

My ideas come, wh-pheww. And I draw. Just recently, when I'm searching for ideas for paintings and sculptures, I wait for ideas, and it's always visual.

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.

The exposure I have had to beautiful materials across the world, from Japan to Italy, enables me to pull design ideas together. This, combined with years of historical research, has created a great fountain of ideas for me.

I have a list of ideas that I want to do for my art series, but I'm always trying to figure out what's going to work. Ever since I was in art school, I would read and get ideas. Sometimes the photograph sparks an idea in me, and I continue in that direction.

Art is very tricky because it's what you do for yourself. It's much harder for me to make those works than the monuments or the architecture.

Inspiration comes from everywhere: books, art, people on the street. It is an interior process for me.

You don't have to have a great art idea - just get to work and something will happen. So that's pretty much my modus operandi and pretty much my principal position, such as it is.

I find inspiration for my works of art in my studio and in the squared circle from all sorts of places.

Now almost every artist outside of New York is connected with some school or some museum school, and even in New York the majority are. That's an interesting fact when you take the idea of making money, making a living selling paintings. Only a dozen or two painters do that.