I'm self-entertaining. My dialogue is with myself.

A strong work of art really leaves people speechless. They feel a little angry because they don’t understand it.

They are works of art that can be considered works of art but don’t have to be in the collection of the Metropolitan Museum.

This theme of bigness – all painters and sculptors have dealt with it ever since.

I wasn’t raised to be into promoting myself.

I wasn’t political enough to write articles about myself or go to cocktail parties, meaning that not only has my art been pirated and my intellectual property rights stolen, but my work has been misrepresented.

I think size is the most unused quotient in the sculptor’s repertoire because it requires lots of commitment and time. To me it’s the best tool. With size you get space and atmosphere: atmosphere becomes volume. You stand in the shape, in the zone.

The trouble is, once you say something about a source, then you’ve pegged it down, and so now I’m reluctant to say anything. If I say I developed 50 different shapes from Mississippian tumuli, that doesn’t mean they’re copies of tumuli – I’m not ripping off those shapes.

I make static art, not dynamic art. That’s what I do.

The history of American art, in a way, begins with Jackson Pollock and his big paintings. This theme of bigness - all painters and sculptors have dealt with it ever since.