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.

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.

The process of growth is obviously critical to my understanding of the land and myself. So the process is far more unpredictable with far more compromises with the day, the weather, the material.

The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.

I soon realised that what had happened on a small scale cannot necessarily be repeated on a larger scale. The stones were so big that the amount of heat required was prohibitively expensive and wasteful.

I enjoy working in a quiet and subversive way.