The most precise work is generally done by hand, with hand tools. Some people rely on machines for their precision, and my way of working is backwards. I rely on the machines for doing the gross stock removal and then, when it comes to the final refinements and fitting of joints and things, making things work together, I rely more on sharp-edged tools that I push by hand.

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.

I think of moving as a kind of saving grace.

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