The Stones Tear Like Flesh, Rather Than

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.

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.

When I’m Working With Materials It’s Not Just The Leaf Or The Stone, It’s The Processes That Are Behind Them That Are Important. That’s What I’m Trying To Understand, Not A Single Isolated Object But Nature As A Whole.

The Difference Between A Theatre With And Without An Audience Is Enormous. There Is A Palpable, Critical Energy Created By The Presence Of The Audience.

My Art Is An Attempt To Reach Beyond The Surface Appearance. I Want To See Growth In Wood, Time In Stone, Nature In A City, And I Do Not Mean Its Parks But A Deeper Understanding That A City Is Nature Too-the Ground Upon Which It Is Built, The Stone With Which It Is Made.