Abandoning the project was incredibly stressful after having gone through the process of building the room, installing the kiln, collecting the stones, sitting with the kiln day and night as it came to temperature, experiencing the failures.

The hardened mass of liquid stones had much stronger qualities than those which had simply torn. The skin remained a recognisable part of the molten stone.

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.

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

My art recognizes the human place, the human context - especially in Britain, which is a landscape so worked by people for thousands of years, written, deeply ingrained with the presence of people.

The early firings contained many stones.

I have to understand the nature of change. And I cannot just work with stone or the more permanent materials. I need to work with leaves and ice and snow and mud and clay and water and the rising tide and the wind and all these.