Occasionally I have come across a last patch of snow on top of a mountain in late May or June. There's something very powerful about finding snow in summer.
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.
A stone is ingrained with geological and historical memories.
Even in winter an isolated patch of snow has a special quality.
Winter makes a bridge between one year and another and, in this case, one century and the next.
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.
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.
People also leave presence in a place even when they are no longer there.
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.
Snow provokes responses that reach right back to childhood.
I'm cautious about using fire. It can become theatrical. I am interested in the heat, not the flames.
A snowball is simple, direct and familiar to most of us. I use this simplicity as a container for feelings and ideas that function on many levels.
Confrontation is something that I accept as part of the project though not its purpose.
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.
The early firings contained many stones.
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