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

There's a huge number of things that are occurring with the ice works which fascinate me enormously, but it's driven by this kind of frantic race against time. And whilst that creates a huge amount of tension and problems, it's a tension that I think I feed off.

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.

Not being able to touch is sometimes as interesting as being able to touch.

Nature, for me is raw and dangerous and difficult and beautiful and unnerving.

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

There is life in a stone. Any stone that sits in a field or lies on a beach takes on the memory of that place. You can feel that stones have witnessed so many things.