The Underlying Tension Of A Lot Of

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.

There's A Huge Number Of Things That Are Occurring With The Ice Works Which Fascinate Me Enormously, But It's Driven By This Kind Of Frantic Race Against Time. And Whilst That Creates A Huge Amount Of Tension And Problems, It's A Tension That I Think I Feed Off.

The Hardened Mass Of Liquid Stones Had Much Stronger Qualities Than Those Which Had Simply Torn. The Skin Remained A Recognisable Part Of The Molten Stone.

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.

The First Snowball I Froze Was Put In My Mother's Deep Freeze When I Was In My Early 20s.