There remains this belief that the work itself can have an identity that can speak, whether it's through beauty, or through ugliness, or whatever quality you put into the work. The work doesn't have to be a transparent vehicle for you to say things about life today.

There is the potential for much more spontaneity with prints than there is with the sculpture, which tends to be very slow, accretive kind of process-labor intensive.

When I went to Africa I think that was when I really found a way to deal with what I had recently discovered; in two-dimensional terms, at least.

The site I landed on feels much more isolated than it really is; it's almost magical. Within its limited radius, there was a whole range of the local ecology.

I was never interested in making cool, distilled, pure objects.

Although idea and form are ultimately paramount in my work, so too are chance, accident, and rawness.

I think of moving as a kind of saving grace.