If you get a bad review, you take that in your stride.
Content arises out of certain considerations about form, material, context-and that when that subject matter is sufficiently far away.
The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.
One of the great currents in the contemporary experience of art is that it seems to come out of the experience of the author.
I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade.
What one does in the studio is to pose a series of problems to oneself. I've got to look for some deeper meaning, for some reason for this thing to be in the world. There's enough stuff in the world.
Work grows out of other work, and there are very few eureka moments.
We live in a fractured world. I've always seen it as my role as an artist to attempt to make wholeness.
One cannot set out to make a work that's spiritual. What is a contemporary iconography for the spiritual? Is it some fuzzy space?
Much of what I make is geometric, and has a kind of almost mathematical logic to the form.
My first show sold within the first 3 minutes, and I came back to the studio and spent the next two and a half years making almost nothing.
That freedom that Picasso afforded himself, to be an artist in a huge number of ways, seems to be a huge psychological liberation.
There's something imminent in the work, but the circle is only completed by the viewer.
My work is not about my life history. It's not about the story of my neurosis.
Sculpture occupies the same space as your body.
A work will only have deep resonance if the kind of darkness I can generate is something that is resident in me already.
I think I understand something about space. I think the job of a sculptor is spatial as much as it is to do with form.
