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.

Occasionally I have come across a last patch of snow on top of a mountain in late May or June. There's something very powerful about finding snow in summer.

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

If I'm going to understand the land, I have to understand the wind, the snow, the rain, the leaves, the ice, and changes in temperature. It just reflects a reality for me.

Winter makes a bridge between one year and another and, in this case, one century and the next.

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.

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.