Earth is the material with the most potential because it is the original source material.
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.
I make static art, not dynamic art. That's what I do.
They are works of art that can be considered works of art but don't have to be in the collection of the Metropolitan Museum.
The type of work I like is pure and simple and profound.
Landscape to me is a planar thing, just a view. Environment is everything down to the ecosystem. Big difference.
A strong work of art really leaves people speechless. They feel a little angry because they don't understand it.
I have looked at so many photographs, I can not see them anymore.
I wasn't raised to be into promoting myself.
The trouble is, once you say something about a source, then you've pegged it down, and so now I'm reluctant to say anything. If I say I developed 50 different shapes from Mississippian tumuli, that doesn't mean they're copies of tumuli - I'm not ripping off those shapes.
This theme of bigness — all painters and sculptors have dealt with it ever since.
I wasn't political enough to write articles about myself or go to cocktail parties, meaning that not only has my art been pirated and my intellectual property rights stolen, but my work has been misrepresented.
Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural.
I’m self-entertaining. My dialogue is with myself.
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