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People think our work is monumental because it's art, but human beings do much bigger things: they build giant airports, highways for thousands of miles, much, much bigger than what we create.

I don't think all buildings have to be iconic, but the history of the world has shown us that cultures build iconic buildings for their major public buildings.

To me, the drive for monumentality is as inbred as the desire for food and sex, regardless of how we denigrate it. Monuments differ in different periods. Each age has its own.

I mean, certainly it's the single biggest event, I think, in terms of popular entertainment, or art even, if you say that, of the 20th Century. It's been film. It's the 20th Century's real art form.

I had a monumental idea this morning, but I didn't like it.

My artistic decision to cast my mother's objects into bronze moves beyond the notions of memorializing her. I've been fascinated for some time with the idea of monumentality and what it means to memorialize. Both of these notions are relevant historically, artistically, and culturally.

All through history, a nation or a civilization's enduring glory is articulated by its mega constructions - the pyramids, the lofty cathedrals of the Christian world.

The world knows of a vast stock of epic material scattered up and down the nations; sometimes its artistic value is as extraordinary as its archaeological interest, but not always.