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

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

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

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.