The philosophy which underlines my work is based on change, continuity and the search for measures in natural order. The value of a sculpture relies on its own existence through time, independent of its creator and should usually speak for itself. It should beckon you to walk into its space, to travel its surface and edge, to sense, to touch, to peer into and ponder. As you leave it should invite you to return another time so that it can communicate further.

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.

The spectator of a sculpture, modern or ancient, is not called to examine his own or the sculptor's knowledge of anatomy but to participations, so to say, a participation where the motions which have strangulated the carver, while working, must operate the same mysterious attraction and inexpressible miracle of forms and lines, its dramaticism, its graphic tragedy, or its smiling gaiety and happiness: its words carved out of forms and sown with lines into phrases of philosophy, religion.

The sculptor must learn to reproduce the surface, which means all that vibrates on the surface: spirit, soul, love, passion — life. ... Sculpture is thus the art of hollows and mounds, not of smoothness, or even polished planes.

The creation of a sculpture can be considered the process by which a sculptor demonstrates to himself whether or not he is creating a sculpture.

Sculpture is the essence of things, the essence of nature, that which is perpetually human.

Sculpture is, in the twentieth century, a wide field of experience, with many facets of symbol and material and individual calligraphy. But in all these varied and exciting extensions of our experience we always come back tot the fact that we are human beings of such and such a size, biologically the same as primitive man, and that it is through drawing and observing, or observing and drawing, that we equate our bodies with our landscape.

I assert that the art of sculpture, among all the arts connected with design, is at least seven times greater than any other, for the following reason: why, sir, a statue of true sculpture ought to have seven points of view, which ought all to boast equal excellence.

Sculpture is all about hard work and delayed gratification, and mysterious, harmonious, pleasantly jarring, revelatory spatial structures—having good times and bad times at the same time.

Sculpture is a celebration of lime and time. The stone I carve is millions of years of age. It is old and stubborn and reluctant to change but change it must for that is the challenge to the sculptor.

You can't make a sculpture, in my opinion, without involving your body. You move and you feel and you breathe and you touch. The spectator is the same. His body is involved too. If it's a sculpture he has to first of all sense gravity. He's got two feet. Then he must walk and move and use his eyes and this is a great involvement. Then if a form goes in like that – what are those holes for? One is physically involved and this is sculpture. It's not architecture. It's rhythm and dance and everything. It's do with swimming and movement and air and sea and all our well-being. Sculpture is involved in the body living in the spirit or the spirit living in the body, whichever way you like to put it.

To be creative is to not know what one is doing. The process of creation resolves the imbalance or irritation that initiated the desire to create something. Sculpture is a way of exploring, amplifying, and giving form to my enthusiasms, which are wide-ranging and often intersect each other, technically, emotionally, and spiritually.

Sculpture is as free as the mind; as complex as life..

For me sculpture is divinity. This is the only answer that I could find for myself. Art is man's distinctly human way of fighting death. Through art, man achieves immortality and in this immortality we find God.