Once the fired stone is out of the kiln, it is still possible to mentally reconstruct it in its original form.

A lot of my work is like picking potatoes; you have to get into the rhythm of it. It is different than patience. It is not thinking. It is working with the rhythm.

The main source of my income is through the commissions of the large-scale works and big sculptures, the projects.

I soon realised that what had happened on a small scale cannot necessarily be repeated on a larger scale. The stones were so big that the amount of heat required was prohibitively expensive and wasteful.

Art for me is a form of nourishment. I need the land. I need it.

Sometimes you need to stop doing something to really see it afresh.

When I make a work, I often take it to the very edge of its collapse, and that's a very beautiful balance.