Juan Williams is a very sharp guy.
[My works are] an imitation of my own past and present and of my own creative vitality as I experience them in one particular instant of my emotional and imaginative life. . .
I rarely draw what I see. I draw what I feel in my body.
My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.
I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one's sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.
It is easy now to communicate with people through abstraction, and particularly so in sculpture. Since the whole body reacts to its presence, people become themselves a living part of the whole.
At no point do I wish to be in conflict with any man or masculine thought. It doesn't enter my consciousness. Art is anonymous. It's not competitive with men. It's a complementary contribution.
Better to be ignorant of a matter than half know it.
Baking is how you start kids at cooking in the kitchen. It's fun whether it's baking bread or cookies. With baking, you have to be exact when it comes to ingredients.
I don’t believe in originality. You take inspiration from whatever moves you and you find your voice in those things.
We don't think that we're begging for anything. We think we're demanding what is ours by right.