'6 Times' is an attempt to reinvestigate the social responsibility of sculpture. The body in question is a particular body, but it doesn't really matter whose it is.
My best travelling experience lasted several years: between 1971 and 1974 when I bummed around the East. All I had with me was a cooking pot, a stove, a map and blankets and a couple of dhotis.
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.
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.
It's a wonderful thing to make work that is unadorned either by context, framing or label, that can exist in the changing conditions of light, weather, wind.
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.
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.
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 was educated by monks - I thank them dearly for the education they gave me, but I am no longer a Catholic.
Public money should be spent on art but through individuals not committees.
I always like to look for adventure when I go away. I have gone on several horse adventures with my wife - from Guangxi we went up to the High Tibetan region. We also went along the Hurunui River on horseback in the South Island of New Zealand.
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?
