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

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.

Some of the snowballs have a kind of animal energy. Not just because of the materials inside them, but in the way that they appear caged, captured.

Once the fired stone is out of the kiln, it is still possible to mentally reconstruct it in its original form.

Time gives growth, it gives continuity and it gives change. And in the case of some sculptures, time gives a patina to them.

My art is an attempt to reach beyond the surface appearance. I want to see growth in wood, time in stone, nature in a city, and I do not mean its parks but a deeper understanding that a city is nature too-the ground upon which it is built, the stone with which it is made.

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.