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.

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.

The British climate, although it is very wet, it is quite mild in winter. We don't get these severe - generally don't get severe winters.

Occasionally I have come across a last patch of snow on top of a mountain in late May or June. There's something very powerful about finding snow in summer.

I just see myself as an object in the final image. I know I'm experiencing it when I'm there working on it. I'm there to be worked with, as anything else that I work with.

When I was at art school, a lot of art education is about art being a means of self-expression, and as an 18-year-old I didn't know if I had a huge amount I wanted to express. It was a big moment when I decided I wanted to shift the emphasis or the intention of my art from something I disgorged myself upon and something that actually fed me or made me see the world or understand the world.

When it does get below freezing and there is - it's cold enough for ice to form, then that changes the whole landscape, and it makes the landscape a different landscape to the one that I worked with previously. And I want to understand that. But the big tension of the ice works is that they're often made when it's cold enough to freeze one piece of ice to another.