Through my sculptures I am always dealing with how a play of abstract forms and colours can to some degree build its own language whilst at the same time becoming something very real through a relation to place, the body and questions of function. Due to this, ways in which the works can be attached and related to architecture and physical activity are key to their dynamic; I see my sculptures as products of processes, closely responding to a specific physical site. However, within the work there is often a simultaneous concern for handicraft, an attention to surface and the sensibility of materials. Through its up-scaling, the work resists any form of sentimentality.  
    Strong directional compositions fluctuate within the space, exploring how something can both be pictorial and some sort of physical material performance. The work is most often dependent upon very physically demanding making procedures, with the actions tied into each process highlighting a movement in the making. Such a play between weight, colour and gravity as well as the large scale of making has often made the work sit with a precarious tension, balancing somewhere between cumbersome and grace. The work is frequently structured through forces of pulling and pushing, suggesting an tenuous relation of bodily support and restraint - an underlying awareness of the control that one seeks to achieve over physicality. This has often led to a degree of absurdity and grotesque, yet one that fights to be both contained and in excess at the same moment. Even though the works are clearly ‘things’ in themselves they escape definition - they cannot be easily separated from their surroundings or their spectators. In this way the events that the works engender are paramount to their object-hood. 

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