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

When I make a work, I often take it to the very edge of its collapse, and that's a very beautiful balance.

There are occasions when I have moved boulders, but I'm reluctant to, especially ones that have been rooted in a place for many years.

The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.

When I do the permanent projects or the big projects, when a work is finished, that's the beginning of its life.

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

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.