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I think size is the most unused quotient in the sculptor's repertoire because it requires lots of commitment and time. To me it's the best tool. With size you get space and atmosphere: atmosphere becomes volume. You stand in the shape, in the zone.

Some psychiatrist told me I was interested in sculpture because I dealt in flat surfaces and needed something with dimension.

I was drawing a mandolin, and I made the sound hole very small, which made the mandolin look gigantic. I saw that making the details small made the form monumental. So in my figures, the eyes, the mouth are all small, and the exterior form is huge.

Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.

My father is an architect, so I often think like a designer or an architect. I remember when I was admiring buildings, I would look up at them and see this perspective and this awesome power of the monument in front of me.

I used to think that the great thing about sculpture was that, like Stonehenge, it was something that stood against time in an adamantine way, and was an absolute mass in space. Now I try to use the language of architecture to redescribe the body as a place.

I think architecture, to be really intense and fulfilling, doesn't have to be large.

Yesterday I was thinking about the whole idea of genius and creative people, and the notion that if you create some magical art, somehow that exempts you from having to pay attention to the small things.

I think I understand something about space. I think the job of a sculptor is spatial as much as it is to do with form.