The main reason I went to digital was because I got time-lapse, video, and still images all in one camera. Having a minimal amount of gear is really important for someone who wants to walk around. That allowed me to have this flexibility to document things in different ways.

There's a huge number of things that are occurring with the ice works which fascinate me enormously, but it's driven by this kind of frantic race against time. And whilst that creates a huge amount of tension and problems, it's a tension that I think I feed off.

Generally in New York, people just walk over you with no problem about that. Other countries, people want to resuscitate you, like, after a bit.

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

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

When I make a work, I often take it to the very edge of its collapse, and that's a very beautiful balance.

It's frightening and unnerving to watch a stone melt.