There's a huge number of things that are occurring with the ice works which fascinate me enormously, but it's driven by this kind of frantic race against time. And whilst that creates a huge amount of tension and problems, it's a tension that I think I feed off.

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.

The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.

Even in winter an isolated patch of snow has a special quality.

If you repeat something, it can become pointless. Some things can repeat and be endlessly fascinating.

The things that I make are that which a person will make. They're not meant to mimic nature. They are nothing but the result of a hand of a person.

Photography is a way of putting distance between myself and the work which sometimes helps me to see more clearly what it is that I have made.