If you repeat something, it can become pointless. Some things can repeat and be endlessly fascinating.

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

I think that any sculpture is a response to its environment. It can be brought to life or put to sleep by the environment.

My approach to photograph is kept simple, almost routine. All work, good and bad, is documented. I use standard film, a standard lens and no filters. Each work grows, strays, decays-integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expresses in the image. Process and decay are implicit.

I'm not a performer, in that I don't like the public, but I work in that respect.

We leave our presence in the pavement. We're walking over it, sitting on steps.

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.