I want to get under the surface. When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around it. When I leave it, these processes continue.

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

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.

The reason why the stone is red is its iron content, which is also why our blood is red.

I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.

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.

Ephemeral work made outside, for and about a day, lies at the core of my art and its making must be kept private.