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.

Design implies a sense of mapping something out and then you follow the plan.

Occasionally I have come across a last patch of snow on top of a mountain in late May or June. There's something very powerful about finding snow in summer.

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.

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

When I was at art school, a lot of art education is about art being a means of self-expression, and as an 18-year-old I didn't know if I had a huge amount I wanted to express. It was a big moment when I decided I wanted to shift the emphasis or the intention of my art from something I disgorged myself upon and something that actually fed me or made me see the world or understand the world.

The British climate, although it is very wet, it is quite mild in winter. We don't get these severe - generally don't get severe winters.