For more than thirty years I was involved, one way or the other, with interiors and it is inevitable that this influenced the way I think. Although a hands-on approach and the satisfaction of actual making now dominate my life I cannot help but see sculptures in an interior context.
For years I loved wood and now I love bronze as well. They are both materials with special qualities to be wrought into physical objects The two are in many ways similar but the role each plays in achieving the same end is very different.
I specialise in sand casting. The process directs simplicity and is itself simple. A bonus is immediacy. The casting, although solid bronze is not yet a sculpture but a material that can be cut, carved, ground or welded.
Sculptures, physical objects, result from seeing, thinking and feeling, translated through making, thinking, feeling and touching. The pattern for sand-casting is the first step in a process and is essentially important because although the casting may embody the basic form it is capable of many changes before refining, patinating, polishing and finishing to achieve the desired outcome.
My work is a visual event to be enjoyed by the senses - simple objects or events inspired by the natural world.
My work is instinctive and spontaneous. Sometimes I make a quick sketch but mostly I have an idea in my head, often sparked by something I have seen, and I turn this into a 3 dimensional reality through the process of making, thinking, looking, touching, altering, refining, patinating, polishing, gilding, colourwashing and finishing until I have achieved something that usually bears some relationship with what was in my mind at the outset.
Every sculpture is individual and each is signed and uniquely numbered. There may be many made from the same pattern but they are handmade and there is always a difference in patination and character because each has its own imperfections that are celebrated and endorsed to govern the process.
What is in my head when I make work is very private and every piece that I make has a meaning for me that is completely personal. I choose names with care and a certain ambiguity - they are not intended to be prescriptive but to leave room for a spectator's own interpretation and to complete their own story. Giving another dimension expands and enriches my work.