The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.

I think that I'm always trying to get beyond the surface appearance of things, to go beyond what I can just see.

When I make a work, I often take it to the very edge of its collapse, and that's a very beautiful balance.

Everything has the energy of its making inside it.

Time confined into blind caves or extended through tunnels, responds to the call of infinity, which teases with its promise of freedom. outside the body, time is a pair of compasses in the hands of eternity, but inside it is a pendulum, fastened to the heart. the heart takes its measure from the lengthening swing of the pendulum surveying what time is left. in its own rhythm time spreads itself wildly here and there and is crippled elsewhere. its unequally distributed weight wounds my body - that is how the particularities of my life are manifest.

Some of the snowballs have a kind of animal energy. Not just because of the materials inside them, but in the way that they appear caged, captured.

Not being able to touch is sometimes as interesting as being able to touch.