It doesn't matter if you can't speak the same language. If you have pictures, or better still, if you can draw things, then you can communicate anything to anyone.
I believe in the city as a natural human environment, but we must humanize it. It's art that will re-define public space in the 21st Century. We can make our cities diverse, inspirational places by putting art, dance and performance in all its forms into the matrix of street life.
There is no question that creative intelligence comes not through learning things you find in books or histories that have already been written, but by focusing on and giving value to experience as it happens.
Art is the means by which we communicate what it feels like to be alive - in the past, that was mixed up with other illustrative duties, but that was still its central function that has been liberated in the art called modern.
I used to think that the great thing about sculpture was that, like Stonehenge, it was something that stood against time in an adamantine way, and was an absolute mass in space. Now I try to use the language of architecture to redescribe the body as a place.
I think scale is about, in a way, the apprehension of proportion, and all the proportions that mean things to us as human beings are related to the body.
Public money should be spent on art but through individuals not committees.
I'm trying to make work that is reflective and is encouraging of reflection.
I would like to go to Kalimantan island in Sumatra to see the carvings and longhouse sculptures. I've also always wanted to look at the wood carvings along the Sepik River in New Guinea.
I think that the equator could act as a great equalizer for all life on Earth, celebrated as the great energy belt of the planet. If all our energy grids were synchronized, the light side of the planet could provide energy for the dark side, according to the movement of the sun.
Judgment is very easy, but I think, on the whole, professional critics maybe see too much, and compare too much, and forget the joy of actually looking and contemplating for its own sake.
I was educated by monks - I thank them dearly for the education they gave me, but I am no longer a Catholic.
Due to the failure of politics, which has become a process of middle-management, art has become one of the last open spaces to question core beliefs and to design a viable future. Art becomes an open space where we can ask fundamental questions about ourselves.
I want people to be excited about cooling towers and megasheds; they're as much part of our history as the rural barn.
I just want my work to be part of the elemental world.
If your work doesn't speak to people, it's beyond comprehension and risible, but if people engage with it, you become tarred with the brush of populism.
I have to say that I reject somewhat the distinction between something called art and something called public art. I think all art demands and desires to be seen.
Western Australia is covered by granite, the largest single piece of Achaean rock that still lies on the surface of the, of, of the Earth, that's 2.5 to 2.9 billion years old. It's one of the most ancient and intact bits of the Earth's crust.
The very first lead work that I made is called 'Land Sea and Air,' and is the enclosure of primal elements within that kind of carapace of lead.
How do you make the timelessness of inert, silent objects count for something? How to use the, in a way, dumbness of sculpture in a way that acts on us as living things?
