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

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

Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.

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.

I love the winter. Well, I love all the seasons, but the winter is possibly one of the most intense.

I'm not a performer, in that I don't like the public, but I work in that respect.

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.