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.

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.

I’m interested in vernacular cultures, where people lived a little closer to the source of materials and the making of objects for use. And for me, not to rely strictly on the history of art has always been an interesting process, to be looking into areas that we call craft and trades.

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

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.