The difference between a theatre with and without an audience is enormous. There is a palpable, critical energy created by the presence of the audience.

We often forget that we are nature.

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 just see myself as an object in the final image. I know I'm experiencing it when I'm there working on it. I'm there to be worked with, as anything else that I work with.

Once the fired stone is out of the kiln, it is still possible to mentally reconstruct it in its original form.

When I’m working with materials it’s not just the leaf or the stone, it’s the processes that are behind them that are important. That’s what I’m trying to understand, not a single isolated object but nature as a whole.

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.