I believe people can have a profound experience by being surrounded by something beautiful - that's what I aim for. My sculpture is about the way you feel when you're standing under it and inside it. It's experiential art.
In Amsterdam, the river and canals have been central to city life for the last four centuries.
I believe that public space should be intentional: it should be obvious that you belong.
It's good for art to make us think, to give us a shared experience that creates a dialogue, makes us talk to each other, including strangers.
My monumental netted sculptural environments move through time, animated by an ever-changing 'wind choreography,' making invisible air currents suddenly visible to the human eye. I make living, breathing pieces that respond to the forces of nature - wind, light, water.
You can't stumble upon something new and wonderful if you don't have time to stumble.
The most powerful part of the art is experiential, yet it's the hardest to describe because it's nonverbal.
When developing an idea, I remind myself not to start with compromise. I envision the ideal manifestation of the idea, as if I had no limits in resources, materials, or permission.
In my regular life, I am very involved in commissions for cities and sometimes countries. And I think of public art as a team sport. The outcome is only possible with the interaction of all the players.
When ideas are young and vulnerable, criticism can be lethal.
Advances in technology have opened up possibilities in the cultural realm throughout history. I'm intrigued by developments in technology - as an artist it gives me a new palette to explore.
As a child, I always enjoyed building forts by stringing up bed sheets and clothes. I continue to be inspired by makeshift structures, including my own kids' forts and temporary architecture of all sorts.
I recognize that it is through the engagement with my craft - by recognizing an idea and drawing it out, building physical models, collaborating with experts, constructing the sculptures at urban scale, and maintaining them through years of weather and interaction with the public - that a new art for cities has become real.
The spaces I want to be in are nurturing and soft and saturated with color. Our cities don't have enough of that, and as humans we need it.
My sculpture thrives in the context of the city, interacting with people in the course of their daily lives.
I pay two full-time assistants in my studio, plus consultants who are architects, engineers, and landscape architects, as well as lighting designers.
I never studied sculpture, engineering or architecture. In fact, after college I applied to seven art schools and was rejected by all seven.
My whole career I've been interested by the distinction between an emotional and an intellectual response to an artwork.
