I think that any sculpture is a response to its environment. It can be brought to life or put to sleep by the environment.

The photography is not the aim of the work; the articulation of the work through photography is another way of understanding what's going on and what's happening outside.

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.

I love the winter. Well, I love all the seasons, but the winter is possibly one of the most intense.

People are the nature of the city, and you can feel it in the pavement.

I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.

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.