Although I take an interdisciplinary approach, drawing is fundamental in helping me to visualize, explore and create. In recent years, my drawing practice has developed into collage and then into the field of sculpture. I am drawn to use paper for its instant transformational possibilities; the materiality of paper and its ability to create an embodied presence when folded and formed, moves it away from being a support for image-making.
I am driven to understand more about the nature of reality, this has led me to explore the visible and invisible forces that permeate the universe. Sources of inspiration include the micro and macro in nature, scientific theory and the processes of perception. Within these broad themes, transformation, inter-connectivity and energy are key. I am drawn to the Japanese Wabi Sabi aesthetic in seeing the beauty of things incomplete, impermanent and imperfect. In metaphysical terms, Wabi Sabi implies that the universe is in constant motion either evolving from nothingness or dissolving towards it. Yet ‘nothingness’ is not believed to be empty, but a soup of unlimited creative possibilities. The metamorphic process of paper-making and ultimately its degradation, is a reminder of the Wabi Sabi philosophy.
Whilst employed as an architectural conservator, I used traditional materials such as coloured pigments, stone dust and copper/gold leaf to make structural and decorative repairs to stone carvings and frescos. Many of these materials have found their way into my fine art practice; I also enjoy working on a considerable scale to convey an architectural quality to the work.
Through my working process I explore the effects of improvisation, a dialogue between the intentional and incidental. I place importance on being creative within the process of making to allow the direction of the piece to unfold. The work is often an interplay between the abstract and the figurative, ultimately soliciting a more visceral response.