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’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.

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.

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

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 think of moving as a kind of saving grace.

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.