At no point do I wish to be in conflict with any man or masculine thought. It doesn't enter my consciousness. Art is anonymous. It's not competitive with men. It's a complementary contribution.

My works are an imitation of my own past and present.

All my early memories are of forms and shapes and textures. Moving through and over the West Riding landscape with my father in his car, the hills were sculptures; the roads defined the form. Above all, there was the sensation of moving physically over the contours of fullnessess and concavities, through hollows and over peaks - feeling, touching, seeing, through mind and hand and eye. This sensation has never left me. I, the sculptor, am the landscape. I am the form and the hollow, the thrust and the contour.

I felt the most intense pleasure in piercing the stone in order to make an abstract form and space; quite a different sensation from that of doing it for the purpose of realism.

At no point do I wish to be in conflict with any man or masculine thought. It doesn't enter my consciousness. Art is anonymous. It's not competitive with men. It's a complementary contribution.

I love my blocks of marble, always piling up in the yard like a flock of sheep.

I must always have a clear image of the form of a work before I begin. Otherwise there is no impulse to create.