“I've been working with steel for about thirty years now. It started when attending a vocational high school, in a metal shop, creating little tools and obelisks, I was immediately attracted to it.

What keeps me coming back to steel is that it's dependable — solid, something you can count on — but heat it up and it becomes malleable, and you can shape it into almost anything. I've always liked that about it. Concrete and reclaimed wood do something similar for me; they've already lived a life before I get to them, and that shows and inform the finished pieces.

I don't sketch much. I go into the studio and work with the material directly, and the pieces find their shape as I go. Most days, it is a slow, continuous, meditative process— I'm not trying to come up with something new every time. The work changes on its own, intuitively. That always feels the right approach for me.

I rarely use nails or screws. Everything locks together by way of welding, so each single object created obtains a particular sense of wholesomeness, it won't come apart.

I grew up in Buenos Aires and travelled extensible as a young man in South America and Europe, then spent years in New York, where I went to school. I believe that's where a lot of the energy I pour into my work comes from — I love architecture and engineering as much as I love sculpture, and I've always seen them as close relatives. My work synthesizes my perception of these disciplines and shows up in mostly abstract forms, built out of materials that helped build our cities, thus playing a significant role in the development of our civilization.”

— Carlos Page

Cave Creek, Arizona