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

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

The United Nations is our conscience. If it succeeds it is our success. If it fails it is our failure.

[My works are] an imitation of my own past and present and of my own creative vitality as I experience them in one particular instant of my emotional and imaginative life. . .

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.

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