When I went to Africa I think that was when I really found a way to deal with what I had recently discovered; in two-dimensional terms, at least.

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.

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.

There is the potential for much more spontaneity with prints than there is with the sculpture, which tends to be very slow, accretive kind of process-labor intensive.

The work is flowing from an inner knowing of how things really are.

I was never interested in making cool, distilled, pure objects.

I realized it wasn't necessary to work in the traditional methods of carving and casting.

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.

The fire was followed by a period of grieving and then by an incredible lightness, freedom, and mobility.

Marriage is a blast. Like a bomb.

Reputation shows who people think you are. Character shows who you really are.

Computer : a million morons working at the speed of light.

US Ambassador to Iraq Ryan Crocker and I have repeatedly sought to emphasize that the progress in Iraq is fragile and also, possibly, reversible.

This is the darkest hour before dawn and we should never underestimate monetary authorities' ability to deal with the adversity.

What can she possibly teach you, twenty seven names for tears?

I write pretty much year-round, but I definitely do more when a deadline is looming.

Walk boldly and wisely.... There is a hand above that will help you on.

Darkroom work had, after all, never interested me except as a means to an end; the place I wanted to be was outside in the light.

Wanting to work is a luxury; having to work is not.