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.

Ephemeral work made outside, for and about a day, lies at the core of my art and its making must be kept private.

People are the nature of the city, and you can feel it in the pavement.

We leave our presence in the pavement. We're walking over it, sitting on steps.

The photography is not the aim of the work; the articulation of the work through photography is another way of understanding what's going on and what's happening outside.

A snowball is simple, direct and familiar to most of us. I use this simplicity as a container for feelings and ideas that function on many levels.

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.