Sculpture

Geometric

Organic

Sculpture doesn’t exist on its own; it exists in the peripheries of other objects and forms. Therefore understanding the site where a work is placed is an important part of the total creation.

My sculpture of the last decade has inclined towards the dynamic and explorative. I have been looking at movement and change through colour; and vertical and horizontal lines in space. I am exploring the way that colour and form change through movement as well as the part that stillness plays in a work, ‘the pause’.

Although colour orchestration is still a major concern in my work, there is today a greater preoccupation with perceptual dynamics and a development from pure line towards a strongly patterned grid.

I am using simple colour arrangements, exploring at once the sensuous qualities of tone and the fascinating proliferation of pattern made possible by its careful control - colour within a rigid mathematical framework.

Musical analogies abound in my work. The subtle manipulation of tonal value and interval create a visual rhythm.

When working on public sculpture the process for me is not merely the creation of a work, but also the action that is needed to realize a work.

Historically artists such as Joseph Beuys, Christo, Dennis Oppenheim and Walter de Maria have had to employ skills of diplomacy and salesmanship to make their work achievable.