Between the architecture of disquiet and the architecture of consolation there is, for instance, an obvious polarity: and one which [Henry] Moore has taken care to preserve. Moore has played continually on the great primary opposite: horizontal/vertical, open/shut/, hollow/solid, animal/mineral, tough/tender, passive/active. He has drawn upon a vast range of secondary allusion, much of it ambiguous, but he has never tried to smother the extremes of his nature. Each has been given its turn: tough and tender have equal rights.
You don't paint the way someone, observing your life, thinks you havem to paint. You paint the way you have to in order to give. Someone will look at it and say it is the product of knowing, but it has nothing to do with knowing. It has to do with giving.