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

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

As with all my work, whether it's a leaf on a rock or ice on a rock, I'm trying to get beneath the surface appearance of things. Working the surface of a stone is an attempt to understand the internal energy of the stone.

I think I have been fashioned by the fickle weather of Britain that it is - it's forever changing. There's no kind of constant sun or dry weather or freezing weather, and I'm always having to change and adapt to that.

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 can't edit the materials I work with. My remit is to work with nature as a whole.

At its most successful, my 'touch' looks into the heart of nature; most days I don't even get close. These things are all part of a transient process that I cannot understand unless my touch is also transient - only in this way can the cycle remain unbroken and the process be complete.