I have worked with this red all over the world - in Japan, California, France, Britain, Australia - a vein running round the earth. It has taught me about the flow, energy and life that connects one place with another.

I'm an artist living in a small, Scottish village. So one would expect to be treated with some sort of caution. And the village and the farmers have shown enormous tolerance of me and interest in what I do. I mean, they don't necessarily understand what I'm doing all the time. But they, you know, I think they respect what I do and that there is a connection between what they do with the land and what I do, you know, that we're both dependent on weather and respond to that.

There's a huge number of things that are occurring with the ice works which fascinate me enormously, but it's driven by this kind of frantic race against time. And whilst that creates a huge amount of tension and problems, it's a tension that I think I feed off.

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 essence of drawing is the line exploring space.

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

I take the opportunity each day offers.