During the sixties I was interested in the record of movement and effort created in rough stone blocks by the marks made by a cold chisel as it was hammered into the surface of the material at different angles and with different degrees of force.

From this I moved on to the examination of the forces of impact when two stones were hammered together — the rock fragments were left where they fell.

I recorded gestures and movements in slabs of plasticine or trays of wet sand. Folded wire netting was also found to be an ideal medium for recording violent or convulsive action. It could be compressed, pulled about and twisted with satisfying ease.

On a smaller scale, thin wire work, recording a single movement (twist) or complex movement (knot) were experimented with.

I then started bolting odd bits of metal together, the bolted portions forming fulcrums, from which the metal structure could be opened out.

During the seventies I began to haphazardly drill, saw, plane and chisel wooden panels — the panels could be further modified with paint, casually applied.

Sheets of plastic also proved useful. And could be attacked with a red hot iron rod.

I have always been fascinated by machines and mechanical movement. I constructed purposeless machines during the sixties and seventies.

I also liked to construct devices which would respond to the natural environment in unusual ways — I built windmills in pipes and metal flags.

I experimented with aimless electronic circuitry. It is immensely exciting when one flicks a switch and the circuit "works".

I built working sculptures from plastic model parts, toy bricks, and meccano. I modified toys.

Coloured inks were agitated in bottles of water and in an aquarium. Jets of water were directed at cloth and wood strips.

Ping pong balls marking intersections of light wire constructions, were positioned where they had to be touched.

Strips of flexible plastic on wooden battens were secured in various ways, in respect of wind direction. Sails were made and experimented with.

I have been interested in the past in building sculptures from cardboard boxes and packaging. These were left in situ.

Pencil marks were made on small pieces of primed wood which were subsequently nailed to fence posts and other places exposed to the elements. Paintings on paper using fugitive materials were stuck in windows.

Sods of earth and cut turf were used to make simple arrangements. Decaying vegetation, manure and compost were piled up and sculpted. They were often left in place over the seasons.

Dead leaves were collected and scattered.