I've realised that I've been trying to do impossible things in my work - creating the desert in a room the size of a cupboard, capturing a fleeting expression in bronze; and most recently inflicting mortal wounds on a race of people that never existed.
There's a tension of opposites about metals and casting in particular that keeps pulling me in. They have this shouting solid presence yet can express very transient aspects of human interaction.
The rich history of casting metals, bound as it is with stages in human development, already possesses qualities of presence/absence and time. The idea of making artwork that can suggest conflicting seconds and centuries is a deeply exciting one for me.