It's a wonderful thing to make work that is unadorned either by context, framing or label, that can exist in the changing conditions of light, weather, wind.
Cities have become places where we are controlled, by CCTV and other means, in the same way as machines are controlled. My works provide an imaginative space in which this can be challenged. It's like opening a window in a closed room.
The very first lead work that I made is called 'Land Sea and Air,' and is the enclosure of primal elements within that kind of carapace of lead.
It's wonderful to see art in a museum, but it is institutionalised. I don't like the idea of the artwork as something that requires special conditions. I would like it to be universal.
I just want my work to be part of the elemental world.
I'm trying to make work that is reflective and is encouraging of reflection.
If your work doesn't speak to people, it's beyond comprehension and risible, but if people engage with it, you become tarred with the brush of populism.