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.

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

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.

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.

Art for me is a form of nourishment. I need the land. I need 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.

My art recognizes the human place, the human context - especially in Britain, which is a landscape so worked by people for thousands of years, written, deeply ingrained with the presence of people.