Barbara Hepworth

"A constructive work is an embodiment of freedom itself, and is unconsciously perceived, even by those who are consciously against it. The desire to live is the strongest universal emotion, it springs from the depths of our unconscious sensibility – and the desire to give life is our most potent, constructive, conscious expression of this intuition."

"Carving is interrelated masses conveying an emotion; a perfect relationship between the mind and the colour, light and weight which is the stone, made by the hand which feels. It must be so essentially sculpture that it can exist in no other way, something completely the right size but which has growth, something still and yet having movement, so very quiet and yet with a real vitality."

"Before I start carving the idea must be almost complete. I say almost because the really important thing seems to be the sculptors ability to let his intuition guide him over the gap between conception and realization without compromising the integrity of the original idea; the point being that the material has vitality – it resists and makes demands.."

"Art at the moment is thrilling. The work of the artist today springs from innate impulses towards life, towards growth - impulses whose rhythms and structures have to do with the power and insistence of life. [...] In the past, when sculpture was based on the human figure, we knew this structure well. But today we are concerned with structures in an infinitely wider sense, in a universal sense. Our thoughts can either lead us to life and continuity or [...] the way to annihilation. That is why it is so important that we find our complete sense of continuity backwards and forwards in this new world of forms and values. I see the present development in art as something opposed to any materialistic, anti-human or mechanistic direction of mind."

"Light and space ... are the sculptors materials as much as wood or stone ... I feel that I can relate my work more easily, in the open air, to the climate and the landscape."

"Saw a magnificent Koros – tall, fierce and passionate bigger than life size – in the Museum. A heavenly work – the backs and buttocks in relation to the hip and waist – an inspiration. I thought the fragment of leg and calf (attached below the knee) was falsely attributed."

"Sculpture communicates an immediate sense of life - you can feel the pulse of it. It is perceived, above all, by the sense of touch which is our earliest sensation; and touch gives us a sense of living contact and security. [...] That has nothing to do with the question of perfection, or harmony, or purity, or escapism. It lies far deeper; it is the primitive instinct which allows man to live fully with all his perceptions active and alert, and in the calm acceptance of the balance of life and death. In its insistence on elementary values, sculpture is perhaps more important today than before because lifes continuity is threatened and this has given us a sense of unbalance."

"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."

"We visited Meudon [c.1938] to see Hans Arp and though, to our disappointment, he was not there and his wife, Sofie Täuber showed us his studio. It was very quiet in the room so that one was aware of the movement in the forms.. .I thought of the poetic idea in [Hans] Arps sculptures. I had never had any first-hand knowledge of the Dadaist movement, so that seeing his work for the first time freed me of many inhibitions and this helped me to see the figure in landscape with new eyes.. .Perhaps in freeing himself from material demands his idea transcended all possible limitations. I began to imagine the earth rising and becoming human."

"Ascended Kynthos alone, the cave of Apollo – half-way magnificent and majestic. A pool with fine fig trees nearby full of giant (sacred?) toads – leaping and barking. Also green frogs."

"Ive found opposition to my teaching because I said its not the strength which does it, its a rhythm. You dont need huge muscles great strength. In fact, if you have that and misuse it, youre going to damage the material. Its absurd. Its a rhythmical flow of an idea, whichever sex you are."

"He [Giovanni Ardini, Italian master-carver] opened up a new vista for me of the quality of form, light, and colour contained in the Mediterranean conception of carving."