Confrontation is something that I accept as part of the project though not its purpose.

I'm not a performer, in that I don't like the public, but I work in that respect.

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.

Art for me is a form of nourishment. I need the land. I need it.

I have to understand the nature of change. And I cannot just work with stone or the more permanent materials. I need to work with leaves and ice and snow and mud and clay and water and the rising tide and the wind and all these.

The British climate, although it is very wet, it is quite mild in winter. We don't get these severe - generally don't get severe winters.

I've laid down in dried up streambeds, leaving a shadow. And then, five minutes later, it's flash flooded, and where I once laid is now running water, which would've washed me away, you know? There's that power and danger often in places that look so calm and pastoral to begin with.