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.
That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
I'll bet there are a lot of artists that nobody hears about who just make more money than anybody. The people that do all the sculptures and paintings for big building construction. We never hear about them, but they make more money than anybody.
Sculpture occupies the same space as your body.
The architect who first inspired me to follow this profession was Sir John Soane and his Regency home; well, his three homes, now a museum. The place is like an encyclopedia of paintings, antiquities, furniture, sculptures, and drawings.
Many of my sculptures take a long time to make.
Work is rich. It can be looked at psychologically or philosophically or personally. The interpretive nature of work is different than the work itself. The interpretation of work isn't the key to understanding it. I'm worried about making a good sculpture. I'm not so worried about the interpretation of it.
My interest in art must have started with my Catholic upbringing. Art was everywhere: churches with its paintings, sculptures, stained glass, textiles, and fine metalwork.
I'm quite sure that all true professional artists, of every description, in all walks of life, whether their craft is painting, music, sculpture, medicine or anything, have one primary concern - mankind.
Cars are the sculptures of our everyday lives.
