“The naturalness of life… the sense of community is, I think, a very important factor in an artist’s life.”

I love my blocks of marble, always piling up in the yard like a flock of sheep.

I rarely draw what I see. I draw what I feel in my body.

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.

One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.

I must always have a clear image of the form of a work before I begin. Otherwise there is no impulse to create.

My works are an imitation of my own past and present.

I felt the most intense pleasure in piercing the stone in order to make an abstract form and space; quite a different sensation from that of doing it for the purpose of realism.

I am the form and I am the hollow, the thrust and the contour

The sculptor must search with passionate intensity for the underlying principle of the organisation of mass and tension – the meaning of gesture and the structure of rhythm.

The United Nations is our conscience. If it succeeds it is our success. If it fails it is our failure.

My left hand is my thinking hand (image), my right hand my doing hand (sequence).

I found one had to do some work every day, even at midnight, because either you’re professional or you’re not.

Whenever I am embraced by land and seascape I draw ideas for new sculptures; new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize… …It is essentially practical and passionate.

Halfway through any work, one is often tempted to go off on a tangent. Once you have yielded, you will be tempted to yield again and again… Finally, you would only produce something hybrid.

[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. . .

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.

We are birthed into sangha, into sacred community. It is called the world.

No rural community, no suburban community, can ever possess the distinctive qualities that city dwellers have for centuries given to the world.

An evil nature wielding great authority brings misfortune upon the community.

A secure pluralistic society requires communities that are educated and confident both in the identity and depth of their own traditions and in those of their neighbours.

There are many interpretations of Islam within the wider Islamic community, but generally we are instructed to leave the world a better place than it was when we came into it.

It could be breakdancing, freestyle dancing or whatever type of dancing that’s happening now in the Black, Hispanic and White community.

Sexuality, politics, intelligence, power, motherhood, work, community, intimacy will develop new meanings; thinking itself will be transformed. This is where we have to begin.

The feeling (“sens”, Fr.) of solidarity that is born amidst a community rest on the feeling of antagonism arouse (aroused ? arose ?… sorry, – “suscité”, Fr.) by those who are opposed to it.