My work often begins in response to national and world issues and events. The ways in which politics, religion, commerce and the media manipulate our thinking and influence society provides the starting point for much of my sculpture. The associations I make between one or more of these forces and the arrangement and juxtapositioning of 'found' objects which have a resonance for me, develops into a dialogue in the studio. The work is not constrained by this initial starting point and is free to evolve independently, while at the same time maintaining the intensity of its origins.
The casting process is central to my work and gives me the option of working with multiples. An advantage of using moulds is that they can be used over many years, so earlier ideas can be revisited and cast elements re-used in new work. I choose objects for a particular 'presence', sometimes modifying or enlarging them. Casting processes allow me to manipulate this by selecting materials for substance, colour or surface. Working with cast multiples enables me to explore interactions and develop formal relationships through the use of juxtaposition, metaphor and humour. The work offers the viewer the opportunity to respond in the light of his or her individual experiences and associations.
I use a wide range of materials and processes. My main materials are ciment fondu and bronze. The ciment is cast into plaster, rubber, resin and glassfibre or wooden moulds, Kerneos Ltd. manufacturers of aluminate ciments are very helpful and generous in their support. Working with fellow sculptor Anthony Hedgecock we built a portable foundry using the David Reid method of ceramic shell casting enabling us to cast bronze at the studio.
My work is in a number collections including The County Hospital Dorchester, Cameron Mackintosh, Professor Christopher Cornford, Kenneth Skelton, West Wales Association for the Arts, Sheffield Hallam University and The Royal College of Art, Bryanston School and the ‘Sculpture in the Garden’ Committee.