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.

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.

We often forget that we are nature.

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.

For me looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. Place is found by walking, direction determined by weather and season. I take the opportunity each day offers: if it is snowing, I work in snow, at leaf-fall it will be leaves; a blown over tree becomes a source of twigs and branches.

A lot of my work is like picking potatoes; you have to get into the rhythm of it. It is different than patience. It is not thinking. It is working with the rhythm.

The main reason I went to digital was because I got time-lapse, video, and still images all in one camera. Having a minimal amount of gear is really important for someone who wants to walk around. That allowed me to have this flexibility to document things in different ways.