The things that I make are that which a person will make. They're not meant to mimic nature. They are nothing but the result of a hand of a person.

The difference between a theatre with and without an audience is enormous. There is a palpable, critical energy created by the presence of the audience.

My approach to photograph is kept simple, almost routine. All work, good and bad, is documented. I use standard film, a standard lens and no filters. Each work grows, strays, decays-integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expresses in the image. Process and decay are implicit.

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

I've laid down in dried up streambeds, leaving a shadow. And then, five minutes later, it's flash flooded, and where I once laid is now running water, which would've washed me away, you know? There's that power and danger often in places that look so calm and pastoral to begin with.

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.

Sometimes you need to stop doing something to really see it afresh.