At its most successful, my 'touch' looks into the heart of nature; most days I don't even get close. These things are all part of a transient process that I cannot understand unless my touch is also transient - only in this way can the cycle remain unbroken and the process be complete.

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.

I think that any sculpture is a response to its environment. It can be brought to life or put to sleep by the environment.

I think I have been fashioned by the fickle weather of Britain that it is - it's forever changing. There's no kind of constant sun or dry weather or freezing weather, and I'm always having to change and adapt to that.

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.

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.

Time gives growth, it gives continuity and it gives change. And in the case of some sculptures, time gives a patina to them.