In my search for these values I like to work both realistically and abstractly. In my drawing and painting I turn from one to the other as a necessit… - Barbara Hepworth

I've found opposition to my teaching because I said it's not the strength which does it, it's a rhythm. You don't need huge muscles great strength. In fact, if you have that and misuse it, you're going to damage the material. It's absurd. It's a rhythmical flow of an idea, whichever sex you are.

I think all these new sculptors [after World War 2.] – he Anthony Caro is not all that young though – are taking stand against abominable architecture since the war and I think rightly so. But again I feel it's not enough to be against something. You have to do something that will damn well replace it. Where do you put these sculptures?.. .I like to think that time is timeless and I wouldn't want to make a work which wouldn't last for more than ten years – nor a work that wouldn't go anywhere. It would make me terrible mad. Mind you, I have to wait to find for my work. It doesn't happen all that easily, but it does happen. It slips in somewhere. Before the war the architects were very much one with the sculptors, painters, everybody. We thought alike. Then the war was over.. ..the architects gave up coming to look at sculpture and painting.

He [Giovanni Ardini, Italian master-carver] opened up a new vista for me of the quality of form, light, and colour contained in the Mediterranean conception of carving.