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

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

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

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

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 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.