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 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.

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.

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

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.

I think of moving as a kind of saving grace.

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.