I think you say the word in your mind anyway, you know. When you look at a word, you say it.

I do like certain kinds of frames for work. That's important.

I am always producing work, but there is always a sort of deadline where you have to finish work. I don't do it for a show. In other words, I am not like a fashion designer where I have a, you know - I have to put out the full line or I have to put out the summer line like that.

Even though you're reading something, it's as though that person who wrote it is speaking to you. It's a form of conversation, really.

After I did the drawings of trees combining them with words, I started doing - I did that for a very short time. Then it kind of - that sort of evolved into just showing the branches of a tree coming down into the trunk and then going into the root system. So I showed both the branches and the roots of a tree, which were about equal. There is as much going on under the ground as is going on above the ground, which you can see.

The notion of a thing, materiality, was something that I think was something very in peoples' minds when they were dealing with earth and metal and different kinds of metals and the interaction of different sorts of material.

When you present works of art, one thing I've learned is that if you're lucky - [Laughs] - there will be those few people who, shall we say, get it? Really become engaged, become moved by it in their own way. You cannot control what other people are going to think about it.