I think that I'm always trying to get beyond the surface appearance of things, to go beyond what I can just see.

I go way beyond just the wood and stone but to the process of growth and farming and the tensions between the two.

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.

The photography is not the aim of the work; the articulation of the work through photography is another way of understanding what's going on and what's happening outside.

One of the beauties of art is that it reflects an artist's entire life. What I've learned over the past 30 years is really beginning to inform what I make. I hope that process continues until I die.

When I’m working with materials it’s not just the leaf or the stone, it’s the processes that are behind them that are important. That’s what I’m trying to understand, not a single isolated object but nature as a whole.

Ephemeral work made outside, for and about a day, lies at the core of my art and its making must be kept private.