That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
The nearest approach I have ever seen to the symmetry of ancient sculpture was among the Arab tribes of Ethiopia. Our Saxon race can supply the athlete, but not the Apollo.
I really became convinced I wanted to tell the story of the real-life model for the Degas sculpture 'Little Dancer Aged 14,' which was unveiled in 1881, the Belle Epoque.
Every other piece of industrial design is a pot or a dish or something insignificant. But when you have a chair, it's like a sculpture of a person: it's alive. It's big. You can't miss it. It's a 'look at me!' item.
How do you make the timelessness of inert, silent objects count for something? How to use the, in a way, dumbness of sculpture in a way that acts on us as living things?