I don't like to design single objects. I like my pieces to have a relationship to each other. They can be mother and child, like the Schmoo salt and pepper shakers, or brother and sister like the Birdie salt and peppers, or cousins, like most of my dinnerware sets.

Men have no concept of how to design things for the home. Women should design the things they use.

Everything I do is a direct creation of my hands, whether it is made in wood, plaster or clay.

My work is very bodily. It's not a shell, but a body.

I don't call myself an 'industrial designer,' because I'm other things. Industrial designers want to make novel things. Novelty is a concept of commerce, not an aesthetic concept.

When you begin your work, nothing exists. When it is finished it looks as if it just happened, spontaneously, effortlessly, convincingly. It looks as though it had been there all along.

To be different is a negative motive, and no creative thought or created thing grows out of a negative impulse. A negative impulse is always frustrating. And to be different means ‘not like this’ and ‘not like that.’ And the ‘not like’—that’s why postmodernism, with the prefix of ‘post,’ couldn’t work. No negative impulse can work, can produce any happy creation. Only a positive one.