I do a lot of work that's permanent. The drawings, the sculptures, they're permanent.

Don't look for obscure formulas or mystery in my work. It is pure joy that I offer you. Look at my sculptures until you see them. Those closest to God have seen them.

I went to a quite macho art school in the 1970s, and while everyone was making hulking big sculptures, I was making things out of bits of paper.

I love my sculptures, and I was lucky I had them for 50 years because no one would look at them, and I really liked having them around.

People always say that my work is sensational or shocking but there are truly shocking things you could do, and my sculptures don't go anywhere near that.

Nobody complains that Bernini's sculptures are too darn real, right? Or that Norman Rockwell's paintings are too creepy. Well, robots can seem real and be loved, too. We're trying to make a new art medium out of robotics.

My ideas come, wh-pheww. And I draw. Just recently, when I'm searching for ideas for paintings and sculptures, I wait for ideas, and it's always visual.

Shape and color are my two strong things. And by doing this, drawing plants has always led me into my paintings and my sculptures.

That is the effect of my sculptures in the public domain: people are making contact with each other again.

My sculptures cause an uproar, astonishment, and put a smile on your face.

I want people to get inspired by public space - their space. People tend to forget about it because they do the daily thing, but putting up these sculptures breaks the routine.

Even though the museums guarding their precious property fence everything off, in my own studio, I made them so you and I could walk in and around, and among these sculptures.

If you look at sculptures from hundreds of years ago, everyone's naked. It's not a bad thing.

In our own time it has been seen... that simple children, roughly brought up in the wilderness, have begun to draw by themselves, impelled by their own natural genius, instructed solely by the example of these beautiful paintings and sculptures of Nature.

Choose paintings, sculptures, realistic or abstract or animal images woven into fabrics, rather than a faux zebra rug or a sullied Lion's head on the wall.

I just feel like, unfortunately, I'm a person that has to be creative to live. Whether that's, like, painting or making sculptures or writing songs, sometimes I just feel like that's the only thing you can do.

I never sold any of my pieces. I had all the money I wanted. Then I would have lost my sculptures and just had more money.

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.

Mission accomplished. The Museum of Modern Art's wide-open, tall-ceilinged, super-reinforced second floor was for all intents and purposes built to accommodate monumental installations and gigantic sculptures, should the need arise. It has arisen.

I am deeply moved by sculptures of powerful women.

We love the sight of the brown and ruddy earth; it is the color of life, while a snow-covered plain is the face of death. Yet snow is but the mask of the life-giving rain; it, too, is the friend of man, the tender, sculpturesque, immaculate, warming, fertilizing snow.

There are two kinds of sculptures. There's the kind that subtracts: Michelangelo starts with a block of marble and chips away. And then there is the kind that adds, building with clay, piling it on. The way I write novels is to keep piling on and piling on and piling on.

I made all sorts of things: drawings, sculptures - I was doing origami before I even knew the word. I was constantly creating.

They are more beautiful than anything in the world, kinetic sculptures, perfect form in motion.

Art is an expression of who you are. Parts that I play are my sculptures.

The relationship between art and a job is not quite linear, but I really love any and all manifestations of art, really respect any kind of artistic impulse, whether it's paintings and sculptures or really good filmmaking or music. I really see the relationships between these different mediums as very fluid.

I left Kurdistan in April 2003 with the peshmerga, following their excited advance as Saddam's forces crumbled. First Kirkuk, then Mosul - where looters broke into the city museum and seized its Parthian sculptures - then Tikrit. I reported from Baghdad in month-long stints until the end of 2004.

In New York, I get a tremendous amount of ideas by looking at the paintings and the sculptures, adapting artistic endeavors to crafts. There is a lot of inspiration around us that we can see every day and turn into projects.

We say to the British government: you have kept those sculptures for almost two centuries. You have cared for them as well as you could, for which we thank you. But now in the name of fairness and morality, please give them back.

The size thing is not some gimmick or attention-getting trick but a genuine undercurrent of the work. Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural.

I created a successful outdoor youth festival - the Liverd festival - against all good advice. It was a great way to explore and investigate social sculptures. Having that as my kind of studio, outside of a museum or precious white-cube gallery, that was a kind of education.