I go way beyond just the wood and stone but to the process of growth and farming and the tensions between the two.

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.

We leave our presence in the pavement. We're walking over it, sitting on steps.

It's just that when I work on someone else's land, it makes me aware of the social nature of that landscape.

My art recognizes the human place, the human context - especially in Britain, which is a landscape so worked by people for thousands of years, written, deeply ingrained with the presence of people.

A snowball is simple, direct and familiar to most of us. I use this simplicity as a container for feelings and ideas that function on many levels.

You must have something new in a landscape as well as something old, something that's dying and something that's being born.