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.

When I make a work, I often take it to the very edge of its collapse, and that's a very beautiful balance.

It's frightening and unnerving to watch a stone melt.

People are the nature of the city, and you can feel it in the pavement.

My art is an attempt to reach beyond the surface appearance. I want to see growth in wood, time in stone, nature in a city, and I do not mean its parks but a deeper understanding that a city is nature too-the ground upon which it is built, the stone with which it is made.

It's just that when I work on someone else's land, it makes me aware of the social nature of that landscape.