I'm less interested in skin than in fascia -- connective tissue.

I don't think my work is so strange. It's just a matter of having the discipline to go the whole way with an idea, to stretch it as far as it can go.

I think what interests me the most is when the two things are developed at the same time, which certainly feels natural for the way of working when there is no dialogue. You sort of depend on the music to be that, especially when there's lyrics in the music.

I'm less interested in skin than in fascia -- connective tissue.

[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.

I have a need to make these sorts of connections literal sometimes, and a vehicle often helps to do that. I have a relationship to car culture. It isn't really about loving cars. It's sort of about needing them.

A lot of my work has to do with not allowing my characters to have an ego in a way that the stomach doesn't have an ego when it's wanting to throw up. It just does it