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.

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

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

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.

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.

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.