Everything has the energy of its making inside it.

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.

Looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. The energy and space around a material are as important as the energy and space within. The weather--rain, sun, snow, hail, mist, calm--is that external space made visible. When I touch a rock, I am touching and working the space around it. It is not independent of its surroundings, and the way it sits tells how it came to be there.

A snowball is simple, direct and familiar to most of us. I use this simplicity as a container for feelings and ideas that function on many levels.

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

When it does get below freezing and there is - it's cold enough for ice to form, then that changes the whole landscape, and it makes the landscape a different landscape to the one that I worked with previously. And I want to understand that. But the big tension of the ice works is that they're often made when it's cold enough to freeze one piece of ice to another.

The reason why the stone is red is its iron content, which is also why our blood is red.