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

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.

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

I think of moving as a kind of saving grace.

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

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.

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.