MICHAEL MOSCHEN

My form is more on the lines of a Chinese porcelain-jar juggler. They learn it as a child. They learn, learn, learn, learn - but not with a porcelain jar. Then, when they're ready to perform, they're taken to a museum, and they're given a porcelain jar for a lifetime to use. When they're done, it's returned to the museum.

I bought a crystal ball, and I wanted to use it, but I didn't know how, and I wouldn't use it until I developed a technique to use it that was truthful.

Impossible doesn't concern me. My job is to dream.

I look at it somewhat as a way - when you learn juggling, what you learn is how to feel with your eyes and see with your hands because you're not looking at your hands, you're looking at where the balls are, or you're looking at the audience.

This is what I believe about performing: There is no reason to be on stage - there is no reason to be there - if you're not going to put all your baggage somewhere else and just be honest. Whatever you're doing - screw it up, do great - just be there, and be honest. That's the most important thing.

If you look at any 15 pieces of mine, nobody does a piece like them. Totally new techniques. All the jugglers are stealing from me and claiming that they've done it.

Now, juggling can be a lot of fun; play with skill and play with space, play with rhythm.

I was learning things in school rather than learning how to teach myself, which is what you have to do in life, so I just abandoned it and did ceramics for a year and a half.

I see lines of space. I break things down into lines and space, and I balance.

Juggling is a conversation with the stick, the body, the brain.

Now, juggling can be a lot of fun; play with skill and play with space, play with rhythm.

Impossible doesn't concern me. My job is to dream.

A lot of people think jugglers defy gravity or do stuff. Well, I kind of, from my childhood and golf and all that, it's a process of joining with forces.

I look at it somewhat as a way - when you learn juggling, what you learn is how to feel with your eyes and see with your hands because you're not looking at your hands, you're looking at where the balls are, or you're looking at the audience.

This is what I believe about performing: There is no reason to be on stage - there is no reason to be there - if you're not going to put all your baggage somewhere else and just be honest. Whatever you're doing - screw it up, do great - just be there, and be honest. That's the most important thing.

Juggling is a conversation with the stick, the body, the brain.

I was learning things in school rather than learning how to teach myself, which is what you have to do in life, so I just abandoned it and did ceramics for a year and a half.

My form is more on the lines of a Chinese porcelain-jar juggler. They learn it as a child. They learn, learn, learn, learn - but not with a porcelain jar. Then, when they're ready to perform, they're taken to a museum, and they're given a porcelain jar for a lifetime to use. When they're done, it's returned to the museum.

I started juggling a long time ago, but long before that, I was a golfer, and that's what I was: a golfer. And as a golfer and as a kid, one of the things that really sort of seeped into my pores, that I sort of lived my whole life, is process. And it's the process of learning things.

If you look at any 15 pieces of mine, nobody does a piece like them. Totally new techniques. All the jugglers are stealing from me and claiming that they've done it.

I see lines of space. I break things down into lines and space, and I balance.

I bought a crystal ball, and I wanted to use it, but I didn't know how, and I wouldn't use it until I developed a technique to use it that was truthful.