I’m not interested in creating a perfect object — if what defines an object is our removal from it. Instead, I’m searching for gestural links that emphasize what we share with the non-human world, how we are related not only to animals, but to trees, for instance. The awareness of our relatedness has ethical implications as we recognize that we, ourselves, are not masters set apart from everything else, but living communities of different organisms affected even by the inanimate world. I want my art to materialize a personal environment in which the suggestively biomorphic volumes of my sculptures, or my photographs and films, engage the viewer — so tactile apprehension leads to recognition, to contemplation, and to moments of exhilaration. If I’m not making art with some awareness of what is at stake in our time, I wouldn’t want to be an artist.