People are used to seeing and thinking about you work in terms of large architectural settings. Is the Autonomous series a move to break that perception?

Well I like working big and im certainly not stopping that but I had held the idea for a long time of using the structural integrity of glass to produce smaller dwelling size sculptures. When the right client and opportunity came along I became excited about the possibilities and the Autonomous series emerged.

One issue for me is the idea that through time peoples living spaces have always been important to them. I like the idea of people accessing my work in their every day life, so I had to make some thing that would fit that.

This series also opens the possibility of working with galleries is that a factor?

A gallery environment opens the work up to a whole new set of people, which is great. The sheer scale of most of my other pieces made that pretty difficult. On the other hand I like my work to be out there, in the living world. I don't think people should have to go to the "church of art" to experience art.

How did you get connected with Sandra Ainsly gallery?

We knew about each other and had spoken before she moved to her new location, I knew that I would like to do something with her in Toronto but commissions always seemed to get in the way of nailing a show down. Also working on the Autonomous series helped bring things together.

You are also talking about a show with the Winnipeg Art Gallery.

That's going to happen in spring 2007. What I envision here is a kind of a glass tent environment. There is some thing kind of nomadic in the way people live and get information, sampling ideas and media from a lot of sources. This is really different from how people and artists interacted in the past. Michelangelo would have been very much involved in his own world in a way that people and artists are not today, our frames of reference and image overload keep us shifting. That is one set of ideas I am exploring for the WAG show.