1. 10

    But what does interest me is the notion that if you do a lot of work it means there's a potential for other people to understand that a lot of things are possible with a sustained effort and that the broadening of experiences is possible and I think that's all art can be.

  2. 9

    I was in analysis and I told my analyst I wanted to be the best sculptor in the world and he said, 'Richard, calm down.'

  3. 8

    Basically, what you really want to do is try to engage the viewer's body relation to his thinking and walking and looking, without being overly heavy-handed about it.

  4. 7

    I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.

  5. 6

    If you reduce sculpture to the flat plane of the photograph, you're passing on only a residue of your concerns... You're not only reducing the sculpture to a different scale for the purposes of consumption, but you're denying the real content of the work.

  6. 5

    Time and movement became really crucial to how I deal with what I deal with - not only sight and boundary, but how one walks through a piece, and what one feels and registers in terms of one's own body in relation to another body.

  7. 4

    The thing about coming back to the Bay Area, it's like coming home for me.

  8. 3

    Everything we choose in life for its lightness soon reveals its unbearable weight.

  9. 2

    On the other hand, if there's an underlying core of poetry that I go to, I go to the sea. I've lived on the sea all my life. I live on the sea in Cape Breton.

  10. 1

    I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct.

  11. Last Update: 29 November 2022

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