Realizing this, I knew that the actual space of a room could be broken down and played with by planting illusions of real light (electric light) at crucial junctures in the room’s composition.

From there I went to Paris where I studied for three years, and then to England where I took a postgraduate course at Oxford in archeology.

I finished my studies in England, I opened my studio in London, and the first one-man exhibit I had on Bond Street, which was opened by the Austrian ambassador.

I was born in Vienna, Austria, where I was brought up among the beautiful Gothic cathedrals, the baroque palaces, wonderful music, opera, museums.

The big monument was dedicated in 1954, and in that monument the figures are four stories tall. I had those three survivors pose for me.

The early expression of my youth was filled with all the aspects of art.

Well, it was one of my most gratifying experiences because I could devote my knowledge and my talent for the good for the City of Washington, and all the Federal projects where the Fine Arts...

A piece of wall can be visually disintegrated from the whole into a separate triangle by plunging a diagonal of light from edge to edge on the wall; that is, side to floor, for instance.

I think all great innovations are built on rejections.

It is what it is, and it ain’t nothin’ else… Everything is clearly, openly, plainly delivered.

I’ve always felt happy at Newcastle. But things have gone a bit differently for me since we got a new manager.

My icons do not raise up the blessed savior in elaborate cathedrals. They are constructed concentrations celebrating barren rooms. They bring a limited light.

One might not think of light as a matter of fact, but I do. And it is, as I said, as plain and open and direct an art as you will ever find.