The tree is made by nature, mathematics by people. And combining the two is creating this beautiful alliance between humanity and nature. That's why my forests are mathematical expansion systems, all of them.
Public art existed all along, but ecological art just naturally grew out of my thinking and writings in that area for years. I didn't get involved in it; I started what then became a movement.
Pattern-finding is the purpose of the mind and the construct of the universe. There are an infinite number of patterns, some of which are known; those still unknown hold the key to unresolved enigmas and paradoxes.
Anything important has to be almost invisible. And underrated. So the understructure should be underrated, but strong enough to hold the earth.
I went through about six or seven painting methods just to see what I didn't want to do. And then I got off the wall, and went into the environment.
Most wonderful things are unconscious.
People are always fighting reality until it's pushed down their throats.
People always understand everything in retrospect.
People don't hurt what they love.
My work is about helping humanity.
I study what I work with. I studied all these different fields of science that I needed for my work. I studied how to mine a landfill and what to plant in it. It's fascinating because you learn a new field each time.
If I could relive my life, what I would do is work with scientists. But not one scientist, because they're locked into their little specializations. I'd go from scientist to scientist to scientist, like a bee goes from flower to flower.
Every one of my works, when I'm looking back, becomes some kind of solution, or something to concentrate on. Something to pay attention to and maybe change direction.
Society likes to file you away, put you in this or that category. And I never fit any category. Maybe that's why I was left out of a lot of things, or why my work was not really understood, because there was no precedent for it.
Thinking has an understructure and underpinnings.
