"You can't make a sculpture, in my opinion, without involving your body. You move and you feel and you breathe and you touch. The spectator is the same. His body is involved too. If it's a sculpture he has to first of all sense gravity. He's got two feet. Then he must walk and move and use his eyes and this is a great involvement. Then if a form goes in like that – what are those holes for? One is physically involved and this is sculpture. It's not architecture. It's rhythm and dance and everything. It's do with swimming and movement and air and sea and all our well-being. Sculpture is involved in the body living in the spirit or the spirit living in the body, whichever way you like to put it."

“I think all these new sculptors – he Anthony Caro is not all that young though – are taking stand against abominable architecture since the war and I think rightly so. But again I feel it's not enough to be against something. You have to do something that will damn well replace it. Where do you put these sculptures?.. .I like to think that time is timeless and I wouldn't want to make a work which wouldn't last for more than ten years – nor a work that wouldn't go anywhere. It would make me terrible mad. Mind you, I have to wait to find for my work. It doesn't happen all that easily, but it does happen. It slips in somewhere. Before the war the architects were very much one with the sculptors, painters, everybody. We thought alike. Then the war was over.. ..the architects gave up coming to look at sculpture and painting.”

“'Circle' was published at last . Mondrian has made his studio opposite so very beautiful, and his company was always inspiring, as it had been in Paris when we used to visit him. After a while he really seemed to our domestic scene. His studio and Ben’s were most austere, but my studio was a jumble of children, rocks, sculptures, trees, importunate flowers and washing.”

“I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one’s sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.”

“Working in the abstract way seems to release one’s personality and sharpen the perceptions so that in the observation of humanity or landscape it is the wholeness of inner intention which moves one so profoundly. The components fall into place and one is no longer aware of the detail except as the necessary significance of wholeness and unity.. ..a rhythm of form which has its roots in earth but reaches outwards towards the unknown experiences of the future. The thought underlying this form is, for me, the delicate balance the spirit of man maintains between his knowledge and the laws of the universe.”

“The Acropolis – the spaces between the columns – the depth of flutings to touch – the breadth, weight and volume – the magnificence of a single marble bole up-ended -. The passionate warm colour of the marble and all-pervading philosophic proportion and space.”

“He opened up a new vista for me of the quality of form, light, and colour contained in the Mediterranean conception of carving.”