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

A lot of my work is like picking potatoes; you have to get into the rhythm of it. It is different than patience. It is not thinking. It is working with the rhythm.

If you lay in the rain, every rain shower, storm, whatever, is different. Every surface is different.

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.

I have worked with this red all over the world - in Japan, California, France, Britain, Australia - a vein running round the earth. It has taught me about the flow, energy and life that connects one place with another.

Stones are checked every so often to see if any have split or at worst exploded. An explosion can leave debris in the elements so the firing has to be abandoned.

My approach to photograph is kept simple, almost routine. All work, good and bad, is documented. I use standard film, a standard lens and no filters. Each work grows, strays, decays-integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expresses in the image. Process and decay are implicit.