The Stones Tear Like Flesh, Rather Than

I Think That Any Sculpture Is A Response To Its Environment. It Can Be Brought To Life Or Put To Sleep By The Environment.

Ephemeral Work Made Outside, For And About A Day, Lies At The Core Of My Art And Its Making Must Be Kept Private.

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.

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.

In Contact With Materials, I Can See So Much More With My Hands Than I Can Just With My Eyes. I'm A Participant, Not A Spectator. I See Myself Both As An Object And A Material, And The Human Presence Is Really Important To The Landscapes In Which I Work.