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

In contact with materials, I can see so much more with my hands than I can just with my eyes. I'm a participant, not a spectator. I see myself both as an object and a material, and the human presence is really important to the landscapes in which I work.

Abandoning the project was incredibly stressful after having gone through the process of building the room, installing the kiln, collecting the stones, sitting with the kiln day and night as it came to temperature, experiencing the failures.

When I do the permanent projects or the big projects, when a work is finished, that's the beginning of its life.

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'm very fortunate to be able to do what I do and live the way I do.

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.