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.

People do not realise that many of my works are done in urban places. I was brought up on the edge of Leeds, five miles from the city centre-on one side were fields and on the other, the city.

There is life in a stone. Any stone that sits in a field or lies on a beach takes on the memory of that place. You can feel that stones have witnessed so many things.

The things that I make are that which a person will make. They're not meant to mimic nature. They are nothing but the result of a hand of a person.

I have to understand the nature of change. And I cannot just work with stone or the more permanent materials. I need to work with leaves and ice and snow and mud and clay and water and the rising tide and the wind and all these.

Time confined into blind caves or extended through tunnels, responds to the call of infinity, which teases with its promise of freedom. outside the body, time is a pair of compasses in the hands of eternity, but inside it is a pendulum, fastened to the heart. the heart takes its measure from the lengthening swing of the pendulum surveying what time is left. in its own rhythm time spreads itself wildly here and there and is crippled elsewhere. its unequally distributed weight wounds my body - that is how the particularities of my life are manifest.

I have six acres in front of my own house, which I very rarely work on. Most of the work occurs on farmers' fields around me. And I like the discipline of working on other people's land.