One of the beauties of art is that it reflects an artist's entire life. What I've learned over the past 30 years is really beginning to inform what I make. I hope that process continues until I die.

The process of growth is obviously critical to my understanding of the land and myself. So the process is far more unpredictable with far more compromises with the day, the weather, the material.

I have worked with this red all over the world - in Japan, California, France, Britain, Australia - a vein running round the earth. It has taught me about the flow, energy and life that connects one place with another.

I can't edit the materials I work with. My remit is to work with nature as a whole.

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

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

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.