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

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.

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

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.

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

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.

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.