“Of course he couldn’t forget! No creator can forget! If the blast-off’s successful you’re hooked, and once you’re hooked you’re inside the work as well as outside it, it’s part of you, you’re welded to it, you’re enslaved, and that’s why it’s such bloody hell when things go adrift. But no matter how much the mess and distortion make you want to despair, you can’t abandon the work because you’re chained to the bloody thing, it’s absolutely woven into your soul and you know you can never rest until you’ve brought truth out of all the distortion and beauty out of all the mess – but it’s agony, agony, agony – while simultaneously being the most wonderful and rewarding experience in the world – and that’s the creative process which so few people understand. It involves an indestructible sort of fidelity, an insane sort of hope, and indescribable sort of … well, it’s love, isn’t it? There’s no other word for it. You love the work and you suffer with it and always – always – you’re slaving away against all the odds to made everything come right… Every step I take – every bit of clay I ever touch – they’re all there in the final work. If they hadn’t happened, then this” – she gestured to the sculpture – “wouldn’t exist. In fact they had to happen for the work to emerge as it is. So in the end every major disaster, every tiny error, every wrong turning, every fragment of discarded clay, all the blood, sweat and tears – everything has meaning. I give it meaning. I reuse, reshape, recast all that goes wrong so that in the end nothing is wasted and nothing is without significance and nothing ceases to be precious to me.”