For me concrete poetry was a particular way of using language which came out of a particular feeling, and I don't have control over whether this feeling is in me or not.

But at the beginning it was clear to me that concrete poetry was peculiarly suited for using in public settings. This was my idea, but of course I never really much got the chance to do it.

As a friendly one. I would still like to write concrete poems, but I can only do it sometimes.

I came to these mediums through having the garden, and of course, people who have designed gardens have always worked in collaboration, and never made their own inscriptions.

However, I don't feel the world is looking over my shoulder when I am working - I never think about this at all. What I think about is trying to make my work pure, and if it is pure then it can be accessible. It is quite straight forward really.

The same sort of thing happened in my dispute with the National Trust book: Follies: A National Trust Guide, which implied that the only pleasure you can get from Folly architecture is by calling the architect mad, and by laughing at the architecture.