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

Abandoning the project was incredibly stressful after having gone through the process of building the room, installing the kiln, collecting the stones, sitting with the kiln day and night as it came to temperature, experiencing the failures.

People do not realise that many of my works are done in urban places. I was brought up on the edge of Leeds, five miles from the city centre-on one side were fields and on the other, the city.

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.

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.

I'm not a performer, in that I don't like the public, but I work in that respect.

If I had to describe my work in one word, that word would be time.