One of the beauties of art is that it reflects an artist's entire life. What I've learned over the past 30 years is really beginning to inform what I make. I hope that process continues until I die.

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.

I can't edit the materials I work with. My remit is to work with nature as a whole. I find nature as a whole disturbing. Nature can be harsh – difficult and brutal, as well as beautiful. You couldn't walk five minutes from here without coming across something that is dead or decaying.

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.

There is life in a stone. Any stone that sits in a field or lies on a beach takes on the memory of that place. You can feel that stones have witnessed so many things.

The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.