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.

Even in winter an isolated patch of snow has a special quality.

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.

Stones are checked every so often to see if any have split or at worst exploded. An explosion can leave debris in the elements so the firing has to be abandoned.

A lot of my work is like picking potatoes; you have to get into the rhythm of it. It is different than patience. It is not thinking. It is working with the rhythm.

If you lay in the rain, every rain shower, storm, whatever, is different. Every surface is different.

I love the winter. Well, I love all the seasons, but the winter is possibly one of the most intense.