I had a revelation in 1933 of the earth outdoors as a new way of conceiving sculpture.
The attractions of ceramics lie partly in its contradictions. It is both difficult and easy, with an element beyond our control. It is both extremely fragile and durable. Like 'Sumi' ink painting, it does not lend itself to erasures and indecision. The best is that which is most spontaneous or seemingly so. I have found it a natural medium to work with in Japan, but not so in America. I associate it with the closeness of earth and wood which is for me Japan and not America today.
The art of stone in a Japanese garden is that of placement. Its ideal does not deviate from that of nature. But I am also a sculptor of the West. I place my mark and do not hide.
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