The key concepts in my sculpture, are:
- The passage of its making, using two, or more, different materials, and the ways in which these are manipulated.
- The different resonances of the materials, which form the emotional content of the piece.
- The haptic touch, contributed by maker and viewer, which should be another way, with vision, of accessing the work. With some works the viewer should be allowed to trace the passage of the making hand with their own. In other works, of more fragile materials, the visual touch, or 'haptic tease', (wouldn't you love to touch but you cannot!) is knowingly used. My sculpture offers both 'Touched and Untouched' work.
The ideas I address are:
- Development over time. My larger sculptures are 'body centred' and trace, through manipulation of materials, human actions such as wrapping, caressing, folding, striking etc, also different aspects and stages of the human condition. The smaller sculptures reflect plant and urban growth, the survival of plant growth within urban expansion may become a 'still-life metaphor' for the human condition
- Phenomenology, the writings of Maurice Merleau-Ponty, offer the viewer 'body ego' and the ability to access the meaning of a work experientially, through 'a knowing body', leading to understanding and empathy with the material surface, and deeper layering, of a sculpture.
The critical content:
We all inhabit 'knowing bodies' and any upright or reclining work, of roughly body size, should offer human resonance - the body of the work, opposite the body of the viewer.
Qualifications and training
- 2000 Viva Voce and Sculpture Exhibition, University of the Arts, London
- 1994 MA studies, Goldsmiths College, London University, London
- 2007 'A Nomadic Con-Fusion', Taib Gallery, Taib Islamic Bank Tower, Kingdom of Bahrain
- 2000 'The Epicurian's Material DeLight' PhD show, Lethaby Gallery, Southampton Row, London