The Acropolis – the spaces between the columns – the depth of flutings to touch – the breadth, weight and volume – the magnificence of a single marbl… - Barbara Hepworth

One of the mysteries is how the human mind can hear a piece of music, a symphony from the beginning to the end, before beginning; or see a sculpture finished all the way round, when it doesn't exist. Now these faculties are the sort faculties which are needed in sciences, math, and medicine and all kind of things. But if one has them, one has to learn to use them.. .You can't start with a block and say: 'Now it's going to dictate me'. You [the artist] dictate to it.

Whenever I am embraced by land and seascape I draw ideas for new sculptures; new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize.. ..It is essentially practical and passionate.

Sculpture communicates an immediate sense of life - you can feel the pulse of it. It is perceived, above all, by the sense of touch which is our earliest sensation; and touch gives us a sense of living contact and security. [...] That has nothing to do with the question of perfection, or harmony, or purity, or escapism. It lies far deeper; it is the primitive instinct which allows man to live fully with all his perceptions active and alert, and in the calm acceptance of the balance of life and death. In its insistence on elementary values, sculpture is perhaps more important today than before because life's continuity is threatened and this has given us a sense of unbalance.