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

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.

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

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

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.

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