As with all my work, whether it's a leaf on a rock or ice on a rock, I'm trying to get beneath the surface appearance of things. Working the surface of a stone is an attempt to understand the internal energy of the stone.

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

Stones are checked every so often to see if any have split or at worst exploded. An explosion can leave debris in the elements so the firing has to be abandoned.

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.

I have six acres in front of my own house, which I very rarely work on. Most of the work occurs on farmers' fields around me. And I like the discipline of working on other people's land.

I've laid down in dried up streambeds, leaving a shadow. And then, five minutes later, it's flash flooded, and where I once laid is now running water, which would've washed me away, you know? There's that power and danger often in places that look so calm and pastoral to begin with.

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.