I can't edit the materials I work with. My remit is to work with nature as a whole.

We often forget that we are nature.

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.

Not being able to touch is sometimes as interesting as being able to touch.

The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.

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.

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.