(percussive electronic music) - I think, as artists, we need to push ourselves and we need to get out of comfort zones.

(upbeat music) You know, we need the world.

And so I think it's really important that we all look out, that I look out and that I, you know, connect.

My work has the landscape of exterior or interior, the body, the body has always been involved with it.

I began as a painter.

The paintings never stayed flat, I was already combining things.

I was doing sculpture too.

(meditative vocalized music) I'm an artist, I'm not a print maker, I'm not a sculptor, I'm not, you know, a painter.

I will say that the sculpture usually is very light and I'm drawing in space.

(upbeat music) Always has had a sense with architecture because it's always been the positive and negative, and we're living where the flux is, but it's not a one-liner.

(meditative vocalized music) I do think it's interesting that when you go from one sort of thing you do.

Big drawings, and then you go to small, that you have a real transition.

And I think we also need to know that we're gonna do a lot of crappy work in the process.

But you have to start, and I think it's with everything we do.

You move to a new studio, you have to have a period of trying to figure out what the space is like.

You don't even know that you're trying to figure this out, but you've got to go through and just get going.

(meditative vocalized music) And then all of a sudden, something will click and come.

I'm in England and I'm, you know, I go to Stonehenge but I also go to lots of these smaller stone, you know, circles there.

And then I realized that a lot of this is sort of related to what I end up doing, with putting it in a sort of circle, a meditative circle.

(relaxed vocalized music) The work has a sort of loop that it comes back, I never seem to leave.

The work is not going on line up, it's just, it's just moving forward and reaching back to understand it.

So I do feel like that it does not have something you can't use.

I can use LED when it seems important.

I can deal with blowers when that seems, it's a lot about breathing, it's a lot about contradictions, it's a lot about that shifts in reality because I'm playing with change and chance.

(meditative music) I am not afraid to doing things that I don't understand how I'm gonna do.

When you've gotten the commission, you're petrified, and you know, think, "How on earth am I gonna do this?"

So I like better when I start and then it sort of leads to the next thing.

Problems are great and they give you a lot of energy because you don't know where you're going, and it's discovery.

(meditative vocalized music continues) Being older, coming back, actually, it's very good.

'cause you do what you want to do.

Sometimes I've said to myself is, you know, "You're just so nervous and everything," you know, "This is the good part, don't forget to, you know, enjoy it."

You know, you're thankful if you think it's good, you know, and you try not to go fleet till it's good.

(chuckles) So, and yeah, and you know, I often think that maybe we don't give ourselves enough minutes to think this is good because we then we rush into the next thing.

But I do think it's important to, after you've done something, that you, that we just, you know, say, "Oh, okay.

It's okay."

(percussive electronic music) (meditative vocalized music) The motivation to create art, I think you need to need it.

It needs to be what grounds you.

It's amazing life, but it's not the easiest.

So you need to feel like, "I need it."

And it's, you know, it's been a good life.