Recently I have been working in the country, where, carving in the open air, I find sculpture more natural than in a London studio, but it needs bigger dimensions. A large piece of stone or wood placed almost anywhere at random in a field, orchard, or garden, immediately looks right and inspiring.
We are each given a block of marble when we begin a lifetime, and the tools to shape it into sculpture. . . We can drag it behind us untouched, we can pound it into gravel, we can shape it into glory.
I write dozens and dozens of pages more than I need, and then edit them down to size. It's more like sculpture than construction.
All you can usually say about a poem or a picture is, 'Look at it, listen to it. ' Whether you listen to a piece of music or a poem, or look at a picture or a jug or a piece of sculpture, what matters about it is not what it has in common with others of its kind, but what is singularly its own.
My sculpture thrives in the context of the city, interacting with people in the course of their daily lives.
Venice is all sea and sculpture.
Sometimes people damage paintings or sculpture because they love it. They throw their arms around a statue in a fit of hysterical passion and it falls over.
Then marble, soften'd into life, grew warm.
I paint - I tend more to abstraction - but not as much as I would like to because of time. I would love to do sculpture - I've toyed with the idea of fitting in a sculpture course.
I consider myself a 3-D philosopher. I am not a designer at all. I studied aerodynamics, I studied philosophy, I studied sculpture. High technology on one side, and on the other side, art.
My paintings and sculptures, at first glance, may appear to be purely aesthetic; closer up, they are not. They hold a feeling of tentativeness, combined with a sense of arrival.
Sculpture will last a lot longer than painting.
The god or hero of the sculptor is always represented in a transition from that which is representable to the senses, to that which is not.
Making a movie is like chipping away at a stone. You take a piece off here, you take a piece off there and when you're finished, you have a sculpture. You know that there's something in there, but you're not sure exactly what it is until you find it.
The first snow always startles. It covers the tricycle in the driveway, turning its frame into an abstact sculpture that says: See how quickly yesterday turns into today.
I really became convinced I wanted to tell the story of the real-life model for the Degas sculpture 'Little Dancer Aged 14,' which was unveiled in 1881, the Belle Epoque.
If you reduce sculpture to the flat plane of the photograph, you're passing on only a residue of your concerns. . . You're not only reducing the sculpture to a different scale for the purposes of consumption, but you're denying the real content of the work.
Silence is as full of potential wisdom and wit as the unshown marble of great sculpture. The silent bear no witness against themselves.
No one can teach that which is inside another, each person must find it on his own and find a way to express it.
The germ of an idea doesn't make the sculpture that stands up. . . so the next stage is hard work