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.

Some of the snowballs have a kind of animal energy. Not just because of the materials inside them, but in the way that they appear caged, captured.

I take the opportunity each day offers.

Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.

Occasionally I have come across a last patch of snow on top of a mountain in late May or June. There's something very powerful about finding snow in summer.

Time gives growth, it gives continuity and it gives change. And in the case of some sculptures, time gives a patina to them.