You must have something new in a landscape as well as something old, something that's dying and something that's being born.

The first snowball I froze was put in my mother's deep freeze when I was in my early 20s.

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.

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.

In contact with materials, I can see so much more with my hands than I can just with my eyes. I'm a participant, not a spectator. I see myself both as an object and a material, and the human presence is really important to the landscapes in which I work.

The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.

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.