We leave our presence in the pavement. We're walking over it, sitting on steps.

As with all my work, whether it's a leaf on a rock or ice on a rock, I'm trying to get beneath the surface appearance of things. Working the surface of a stone is an attempt to understand the internal energy of the stone.

The process of growth is obviously critical to my understanding of the land and myself. So the process is far more unpredictable with far more compromises with the day, the weather, the material.

The essence of drawing is the line exploring space.

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.

The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.

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.