I did tests on small stones before collecting and committing myself to the larger ones.

I'm cautious about using fire. It can become theatrical. I am interested in the heat, not the flames.

You must have something new in a landscape as well as something old, something that's dying and something that's being born.

I enjoy working in a quiet and subversive way.

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

I want to get under the surface. When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around it. When I leave it, these processes continue.