My works are an imitation of my own past and present.
I found one had to do some work every day, even at midnight, because either you're professional or you're not.
I rarely draw what I see. I draw what I feel in my body.
At no point do I wish to be in conflict with any man or masculine thought. It doesn't enter my consciousness. Art is anonymous. It's not competitive with men. It's a complementary contribution.
I felt the most intense pleasure in piercing the stone in order to make an abstract form and space; quite a different sensation from that of doing it for the purpose of realism.
Half-way through any work, one is often tempted to go off on a tangent. Once you have yielded, you will be tempted to yield again and again. . . . Finally, you would only produce something hybrid. . .
I must always have a clear image of the form of a work before I begin. Otherwise there is no impulse to create.
[My works are] an imitation of my own past and present and of my own creative vitality as I experience them in one particular instant of my emotional and imaginative life. . .
One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.
It is easy now to communicate with people through abstraction, and particularly so in sculpture. Since the whole body reacts to its presence, people become themselves a living part of the whole.
The naturalness of life... the sense of community is, I think, a very important factor in an artist's life.
Body experience... is the centre of creation.
Halfway through any work, one is often tempted to go off on a tangent. Once you have yielded, you will be tempted to yield again and again... Finally, you would only produce something hybrid.