My equestrian figures are symbols of the anguish that I feel when I survey contemporary events. Little by little, my horses become more restless; the… - Marino Marini

I had been born in an Earthly Paradise [in Tuscany, Italy] from which we all have expelled. Not so long ago a sculptor could still be content with a search for full, sensual and vigorous forms. But in the past fifteen years [1943 – 1958], nearly all our new sculpture has tended to create forms that are disintegrating.

We must enter into the spirit of the character [for making a portrait]: here the challenge is to place this figure in the human space, to work out what he represents in relation to other people, other human personalities; when you've worked this out, you're done. this truth has to stand out in the end result of the portrait.. ..when this task is complete, and the subject is placed in the realm of the dead that go on living, I hand over my work.

Machines change their style so rapidly. If one tries to reproduce them in art as realistically as man and the horse in classical art, one immediately lapses into a kind of anecdotic or documentary art.. .Only the stylisation of a painter like Leger could integrate the machine as the subject matter of art. Here in Italy, the futurists, before 1914, attempted a similar integration of the machine.. ..César [French sculptor, in the generation of Marini] creates with elements borrowed from industry and the world of machines, sculptural fossils that appear to have survived the same kind of catastrophe as my own figures. But I would like to show you [ interviewer w:Eduard Roditi now in my studio my latest fossils..