Some of the snowballs have a kind of animal energy. Not just because of the materials inside them, but in the way that they appear caged, captured.

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.

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

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 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.

The main source of my income is through the commissions of the large-scale works and big sculptures, the projects.

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.