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.

We often forget that we are nature.

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.

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 did tests on small stones before collecting and committing myself to the larger ones.

I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.

If I'm going to understand the land, I have to understand the wind, the snow, the rain, the leaves, the ice, and changes in temperature. It just reflects a reality for me.