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

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.

Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.

I knew the tree when it grew, and the tree is now gone. The farmers cut it up, and it's become firewood. And there's this tremendous sense of absence and shock and violence attendant to that collapsing tree.

Confrontation is something that I accept as part of the project though not its purpose.

Fire is the origin of stone.By working the stone with heat, I am returning it to its source.

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.