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

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.

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.

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