I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.
People do not realise that many of my works are done in urban places. I was brought up on the edge of Leeds, five miles from the city centre-on one side were fields and on the other, the city.
Movement, change, light, growth, and decay are the life-blood of nature, the energies that I try to tap through my work.
Ephemeral work made outside, for and about a day, lies at the core of my art and its making must be kept private.
Photography is a way of putting distance between myself and the work which sometimes helps me to see more clearly what it is that I have made.
As with all my work, whether it's a leaf on a rock or ice on a rock, I'm trying to get beneath the surface appearance of things. Working the surface of a stone is an attempt to understand the internal energy of the stone.
Ideas must be put to the test. That's why we make things, otherwise they would be no more than ideas. There is often a huge difference between an idea and its realisation. I've had what I thought were great ideas that just didn't work.
It takes between three and six hours to make each snowball, depending on snow quality. Wet snow is quick to work with but also quick to thaw, which can lead to a tense journey to the cold store.
My work comes first, reasons for it follow.