Looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. The energy and space around a material are as important as the energy and space within. The weather--rain, sun, snow, hail, mist, calm--is that external space made visible. When I touch a rock, I am touching and working the space around it. It is not independent of its surroundings, and the way it sits tells how it came to be there.

The British climate, although it is very wet, it is quite mild in winter. We don't get these severe - generally don't get severe winters.

I'm not a performer, in that I don't like the public, but I work in that respect.

Once the fired stone is out of the kiln, it is still possible to mentally reconstruct it in its original form.

I knew the tree when it grew, and the tree is now gone. The farmers cut it up, and it's become firewood. And there's this tremendous sense of absence and shock and violence attendant to that collapsing tree.

The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.

The essence of drawing is the line exploring space.