In contact with materials, I can see so much more with my hands than I can just with my eyes. I'm a participant, not a spectator. I see myself both as an object and a material, and the human presence is really important to the landscapes in which I work.

The hardened mass of liquid stones had much stronger qualities than those which had simply torn. The skin remained a recognisable part of the molten stone.

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.

The main source of my income is through the commissions of the large-scale works and big sculptures, the projects.

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

Time confined into blind caves or extended through tunnels, responds to the call of infinity, which teases with its promise of freedom. outside the body, time is a pair of compasses in the hands of eternity, but inside it is a pendulum, fastened to the heart. the heart takes its measure from the lengthening swing of the pendulum surveying what time is left. in its own rhythm time spreads itself wildly here and there and is crippled elsewhere. its unequally distributed weight wounds my body - that is how the particularities of my life are manifest.

The stones tear like flesh, rather than breaking. Although what happens is violent, it is a violence that is in stone. A tear is more unnerving than a break.