My original design training was not only rooted in the Arts and Crafts tradition, but also, more importantly, in the profound influence of the Bauhaus and Modernism. The abstract sculpture that is the main focus of my current work began as a shift from semi-functional architectural forms within the vessel tradition. These drew from diverse cultural references and often hinted at possible ritual significance. This work continues to be an important part of my practice alongside my pure sculpture.
My geometric work has a direct link from the slabs of wood of my early cabinet making, combined initially with a utilization of pre-formed elements that I had used in my architectural vessels. This approach - a play with limited elements and all sorts of self- imposed rules - gave rise to my initial geometric series Primary Energy. Leaving my game rules I am faced with overwhelming possibilities for future pieces.
A long gestation from early woodcarving led to my organic forms. These begin with small carved maquettes in firebrick which are translated into full-sized forms built up from coils and pinched accretions which are then carved and scraped back to the finished form and surface. It is a process that is reflective of the original carving. Both the geometric and the organic forms share the same formal concerns with the relationship of lines, planes and space, generating not only their own rhythms and patterns but also changing the space around them.
The assembled forms happen somewhere between the geometry and organic, using both mould formed units from initially carved forms, and slab constructed elements. These are assembled after firing. This allows me to transcend the size limitations of the kiln. They are either totemic or suggestive of figures similar to Inukshuks.