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.

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

I have worked with this red all over the world - in Japan, California, France, Britain, Australia - a vein running round the earth. It has taught me about the flow, energy and life that connects one place with another.

If I had to describe my work in one word, that word would be time.

Sometimes you need to stop doing something to really see it afresh.

It's just that when I work on someone else's land, it makes me aware of the social nature of that landscape.

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