“The sculptor carves because he must. He needs the concrete form of stone and wood for the expression of his idea and experience, and when the idea forms the material is found at once. …. I have always preferred direct carving to modelling because I like the resistance of the hard material and feel happier working that way. Carving is more adapted to the expression of the accumulative idea of experience and clay to the visual attitude. An idea for carving must be clearly formed before starting and sustained during the long process of working; also, there are all the beauties of several hundreds of different stones and woods, and the idea must be in harmony with the qualities of each one carved; that harmony comes with the discovery of the most direct way of carving each material according to its nature.”

— Barbara Hepworth

quote from an extract of 'Barbara Hepworth – the Sculptor carves because he must, The Studio, London, vol. 104, December 1932, p. 332
1932 - 1946

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Barbara Hepworth40

English sculptor 1903–1975

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“Before I start carving the idea must be almost complete. I say 'almost' because the really important thing seems to be the sculptor's 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..”

Barbara Hepworth (1903–1975) English sculptor

Source: 1932 - 1946, The Studio 132:643', (1946), p. 279

“Besides, if there were no dragons of flesh and blood and fire, whence would come the idea for these stone carvings?”

Robin Hobb book Assassin's Quest

Source: Assassin's Quest

“. My materials often dictate my change of aims, and I choose to work in a different material much as a man may suddenly feel an appetite for a change of diet. After a steady diet of moulding plaster models for bronzes, I enjoy returning to a discipline of carving stone or wood, and the wood or the stone Inevitably suggests to me a shift of principles or of aims.”

Ossip Zadkine (1890–1967) French sculptor

As quoted in: 'The Work of Zadkine' (excerpt), Ionel Jianou, 1964; for the Zadkine Research Center https://www.zadkine.com/writing <br class="br">1960 - 1968

“A man is worked upon by what he works on.
He may carve out his circumstances,
but his circumstances will carve him out as well.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

“Sculpture is a celebration of lime and time. The stone I carve is millions of years of age. It is old and stubborn and reluctant to change but change it must for that is the challenge to the sculptor.”

Fred Conlon (1943–2005) Irish sculptor

citation needed
Attributed

“No, I think Abstract art is valuable. It teaches people the language of painting. In my own work I have produced carvings which perhaps might see to most people purely abstract. This means that in those works I have been mainly concerned to try to solve problems of design and composition. But these carvings have not really satisfied me because I have not had the same sort of grip or hold over them that I have as soon as a thing takes on a kind of organic idea. And in almost all my carvings there has been an organic idea in my mind. I think of it as having a head, body, limbs..”

Henry Moore (1898–1986) English artist

Quote in 'The Listener', 13 November 1941, pp. 657-9; as cited in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 126
1940 - 1955

“I have always been interested in oval or ovoid shapes. The first carvings were simple realistic oval forms of the human head or of a bird. Gradually my interest grew in more abstract values – the weight, poise and curvature of the ovoid as a basic form. The carving and piercing of such a form seems to open up an infinite variety of continuous curves in the third dimension, changing in accordance with the contours of the original ovoid and with the degree of penetration of the material. Here is a sufficient field for exploration to last a lifetime..”

Barbara Hepworth (1903–1975) English sculptor

Source: 1932 - 1946, The Studio 132:643', (1946), p. 279

“Absolute ideas must take relative forms if they are not to fail because of an error in form.”

José Martí (1853–1895) Poet, writer, Cuban nationalist leader

Our America (1881)
Context: The youth of America are rolling up their sleeves, digging their hands in the dough, and making it rise with the sweat of their brows. They realize that there is too much imitation, and that creation holds the key to salvation. "Create" is the password of this generation. The wine is made from plantain, but even if it turns sour, it is our own wine! That a country's form of government must be in keeping with its natural elements is a foregone conclusion. Absolute ideas must take relative forms if they are not to fail because of an error in form. Freedom, to be viable, has to be sincere and complete. If a republic refuses to open its arms to all, and move ahead with all, it dies.

“I realized the wood was better before I cut it, than after. I did not improve it in any way [by carving it].”

Carl Andre (1935) American artist

As quoted in Abstract Art, Anna Moszynska, Thames and Hudson 1990, p. 206
quote after 1959, in Andre's early artistic career, when he made his sculpture 'Last Ladder'

“The work of the sculptors of my age & somewhat older – Brancusi – Arp – Lipschitz – Laurens – Giacometti – has gradually approached a freedom & moved into space, compared with the sculptors of earlier period – Rodin – Maillol [. And] & the young sculptors of today all have the tendency to work with space – to model rather than carve – but it is very necessary in my opinion to have been able to get the refinement & completeness of a single form before going on to space form with no body”

Henry Moore (1898–1986) English artist

Quote in 'Unpublished notes' 1951, HMF Archive; as cited in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 121
1940 - 1955

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