A Lot Of My Work Is Like

I'm An Artist Living In A Small, Scottish Village. So One Would Expect To Be Treated With Some Sort Of Caution. And The Village And The Farmers Have Shown Enormous Tolerance Of Me And Interest In What I Do. I Mean, They Don't Necessarily Understand What I'm Doing All The Time. But They, You Know, I Think They Respect What I Do And That There Is A Connection Between What They Do With The Land And What I Do, You Know, That We're Both Dependent On Weather And Respond To That.

I'm Cautious About Using Fire. It Can Become Theatrical. I Am Interested In The Heat, Not The Flames.

Movement, Change, Light, Growth, And Decay Are The Life-blood Of Nature, The Energies That I Try To Tap Through My Work.

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.

There Is Life In A Stone. Any Stone That Sits In A Field Or Lies On A Beach Takes On The Memory Of That Place. You Can Feel That Stones Have Witnessed So Many Things.