I have a great deal of difficulty recognizing faces, especially if I haven't - if I've just met somebody, it's hopeless.

I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.

I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.

The camera is objective. When it records a face it can't make any hierarchical decisions about a nose being more important than a cheek. The camera is not aware of what it is looking at. It just gets it all down.

A face is a road map of someone's life. Without any need to amplify that or draw attention to it, there's a great deal that's communicated about who this person is and what their life experiences have been.

Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.

Part of the joy of looking at art is getting in sync in some ways with the decision-making process that the artist used and the record that's embedded in the work.