I'm Very Fortunate To Be Able To

Not Being Able To Touch Is Sometimes As Interesting As Being Able To Touch.

Some Of The Snowballs Have A Kind Of Animal Energy. Not Just Because Of The Materials Inside Them, But In The Way That They Appear Caged, Captured.

I See My Work Plagiarized In Gardening Programmes And Decorating Programmes And Car Adverts, And I Suppose I Have To Accept That's Just The Way Art Gets Assimilated Into Culture.

Looking, Touching, Material, Place And Form Are All Inseparable From The Resulting Work. It Is Difficult To Say Where One Stops And Another Begins. The Energy And Space Around A Material Are As Important As The Energy And Space Within. The Weather--rain, Sun, Snow, Hail, Mist, Calm--is That External Space Made Visible. When I Touch A Rock, I Am Touching And Working The Space Around It. It Is Not Independent Of Its Surroundings, And The Way It Sits Tells How It Came To Be There.

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.