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.

The work is flowing from an inner knowing of how things really are.

At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.

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.

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

The fire was followed by a period of grieving and then by an incredible lightness, freedom, and mobility.

I realized it wasn't necessary to work in the traditional methods of carving and casting.