I rarely draw what I see. I draw what I feel in my body.

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

One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.

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

[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. . .

I found one had to do some work every day, even at midnight, because either you're professional or you're not.

I rarely draw what I see. I draw what I feel in my body.