The Early Firings Contained Many Stones.

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.

Movement, Change, Light, Growth And Decay Are The Lifeblood Of Nature, The Energies That I I Try To Tap Through My Work. I Need The Shock Of Touch, The Resistance Of Place, Materials And Weather, The Earth As My Source. Nature Is In A State Of Change And That Change Is The Key To Understanding. I Want My Art To Be Sensitive And Alert To Changes In Material, Season And Weather. Each Work Grows, Stays, Decays. Process And Decay Are Implicit. Transience In My Work Reflects What I Find In Nature.

The British Climate, Although It Is Very Wet, It Is Quite Mild In Winter. We Don't Get These Severe - Generally Don't Get Severe Winters.

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.

Time Confined Into Blind Caves Or Extended Through Tunnels, Responds To The Call Of Infinity, Which Teases With Its Promise Of Freedom. Outside The Body, Time Is A Pair Of Compasses In The Hands Of Eternity, But Inside It Is A Pendulum, Fastened To The Heart. The Heart Takes Its Measure From The Lengthening Swing Of The Pendulum Surveying What Time Is Left. In Its Own Rhythm Time Spreads Itself Wildly Here And There And Is Crippled Elsewhere. Its Unequally Distributed Weight Wounds My Body - That Is How The Particularities Of My Life Are Manifest.