All the sculptures of today, like those of the past, will end one day in pieces… So it is important to fashion ones work carefully in its smallest recess and charge every particle of matter with life.
The human face is as strange to me as a countenance, which, the more one looks at it, the more it closes itself off and escapes by the steps of unknown stairways.
All the art of the past rises up before me, the art of all ages and all civilizations, everything becomes simultaneous, as if space had replaced time. Memories of works of art blend with affective memories, with my work, with my whole life.
The more I work, the more I see things differently, that is, everything gains in grandeur every day, becomes more and more unknown, more and more beautiful. The closer I come, the grander it is, the more remote it is.
I see something, find it marvelous, want to try and do it. Whether it fails or whether it comes off in the end becomes secondary. So long as I’ve learned something about why.
I don’t know who I am or who I was. I know it less than ever. I do and I don’t identify myself with myself. Everything is totally contradictory, but maybe I have remained exactly as I was as a small boy of twelve.
In every work of art the subject is primordial, whether the artist knows it or not. The measure of the formal qualities is only a sign of the measure of the artist’s obsession with his subject; the form is always in proportion to the obsession.
