To know one thing, you must know the opposite. - Henry Moore

It is a mistake for a sculptor or a painter to speak or write very often about his job. It releases tension needed for his work.

The first hole made through a piece of stone is a revelation. The hole connects one side to the other, making it immediately more three-dimensional. A hole can itself have as much shape-meaning as a solid mass. Sculpture in air is possible, where the stone contains only the hole, which is the intended and considered form. The mystery of the hole – the mysterious fascination of caves in hill sides and cliffs.

And for me Michelangelo's greatest work is one that was in his studio partly finished, partly unfinished when he died 'The Rondanini Pietà'. I don't know of any other single work of art by anyone that is more poignant, more moving. It isn't the most powerful of Michelangelo's works – it's a mixture, in fact, of two styles.. ..the changing became so drastic that I think he knocked the head off the sculpture.. .So the figure must originally have been a good deal taller. And if we see also the proportion of the length of the body of Christ compared with the length of the legs, there's no doubt that the whole top of the original sculpture has been cut away. Now this to me is a great question. Why should I and other sculptors I know, my contemporaries – I think that Giacometti feels this, I know Marino Marini feels it – find this work one of the most moving and greatest works we know of when it's a work which has such disunity in it?.. .But that's so moving, so touching: the position of the heads, the whole tenderness of the top part of the sculpture, is in my opinion more what it is by being in contrast with the rather finished, tough, leathery, typical Michelangelo legs. The top part is Gothic and the lower part is sort of Renaissance.