The fire was followed by a period of grieving and then by an incredible lightness, freedom, and mobility.
At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.
I realized it wasn't necessary to work in the traditional methods of carving and casting.
I felt it was part of the spirit of the whole program to do more than simply make an object.
I was never interested in making cool, distilled, pure objects.
Although idea and form are ultimately paramount in my work, so too are chance, accident, and rawness.
I think of moving as a kind of saving grace.
The work is flowing from an inner knowing of how things really are.
The site I landed on feels much more isolated than it really is; it's almost magical. Within its limited radius, there was a whole range of the local ecology.
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