Sculpture is not the mere cutting of the form of anything in stone; it is the cutting of the effect of it. Very often the true form, in the marble, would not be in the least like itself.
In Giacometti's work, the armature has once again become the life-line of the sculpture, and also, he's brought back to sculpture a nervous sensitivity which the 'pure carving' side of sculpture can lose sight of altogether.
And the sculptor woman was so clever in the way she did it. She had the beret just about to leave my hand. So it's attached to this finger and that's what will keep it there. And I'm looking up at it, so there's no question but that that beret is going to fly.
All my wire sculptures come from the same loop. And there's only one way to do it. The idea is to do it simply, and you end up with a shape.
I never think I have finished a nude until I think I could pinch it.
If we now seek the spiritual significance of the technique of Michelangelo we shall find that his sculpture expressed restless energy.
I was never good at painting. The great turning point came when I had a block of wood and I carved a shape into the wood and put a small piece of timber into that space - like a negative - and so it made an endless column, only inward.
