If only someone else could paint what I see, it would be marvellous, because then I wouldn't have to paint at all.
I soon realised that what had happened on a small scale cannot necessarily be repeated on a larger scale. The stones were so big that the amount of heat required was prohibitively expensive and wasteful.
Abandoning the project was incredibly stressful after having gone through the process of building the room, installing the kiln, collecting the stones, sitting with the kiln day and night as it came to temperature, experiencing the failures.
Three or four stones in one firing will all react differently. I try to achieve a balance between those that haven't progressed enough and those about to go too far.
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.
I think scale is about, in a way, the apprehension of proportion, and all the proportions that mean things to us as human beings are related to the body.
How do you make the timelessness of inert, silent objects count for something? How to use the, in a way, dumbness of sculpture in a way that acts on us as living things?
It doesn't matter if you can't speak the same language. If you have pictures, or better still, if you can draw things, then you can communicate anything to anyone.
I wouldn't say I'm addicted, but I never, ever skip yoga. I use it to calm down and slow down.
There's something that happens with the collection of a large amount of data when it's dumped into an Excel spreadsheet or put into a pie chart. You run the risk of completely missing what it's about.
The trouble with progress is that it tends to happen slowly and quietly. It's not necessarily going to shout about itself, or make the nightly news like a disaster or a scandal would.
They say an elephant never forgets. Well, you are not an elephant. Take notes, constantly. Save interesting thoughts, quotations, films, technologies... the medium doesn't matter, so long as it inspires you.
I used to empty the studio out and throw stuff away. I now don't. There will be a whole series of dead ends that a year or two down the line I'll come back to.
What one does in the studio is to pose a series of problems to oneself. I've got to look for some deeper meaning, for some reason for this thing to be in the world. There's enough stuff in the world.
But I believe above all that I wanted to build the palace of my memory, because my memory is my only homeland.
Any new producer starting up is to get investors' confidence. Investors are still very very wary of anything to do with the arts world.
It will never be Hollywood, the same way people think it should be. I think it will grow and it will be healthy and it will expand into more than one production house.
All the arts are predominantly national, and therefore the Australian Film Commission should be funding us. The battle gets more and more vicious each year.
We are here predominantly to support independent filmmakers and their needs. We are also here to assist people actually in their production, non-commercial people in their production.
You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.
I'm not a big theory person. So when I get asked questions that demand serious statements, I just make it up.
