The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.

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.

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.

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

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.

If you repeat something, it can become pointless. Some things can repeat and be endlessly fascinating.

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.