My practice is very much process based with a respect for the intrinsic qualities of the materials I use. I choose materials and processes that require both an investment of time and physical labour. This allows me to have an intimate relationship to the work, exploring surface, substance, movement and density. I often combine materials in an attempt to make a homogenous whole out of disparate parts. Both the urban landscape and natural formations figure in my recent work. I have always had a fascination with geologically occurring demarcation zones, like mountains, forests and beaches and how this translates to our fabricated environments and virtual technologies. They are all layers or sections of perceptual understanding, place and imagination.
Along with these integral parts of my practice, my work for ‘The Other Side’ was also informed by two other factors, the particularities of the Crypt and the significance of the ‘other’ in my case, being Peter, who was my tutor and friend.
When I was a student of Peter's we had a small scrap store by the back door of the sculpture studios, usually full of timber off-cuts, polystyrene and the like. One day I noticed a long bubble wrapped object poking up from the back of the pile. It turned out to be Peter’s sculpture ‘The Artists Breath’. After quite a lot of pestering, he finally un-wrapped it so I could have a look. It was the only piece of work I ever saw of Peter's when I was his student and only came about by pure chance.
For me, this work is quiet, uncomplicated and balanced but also incredibly powerful. These qualities are not readily evident in my own work; I have a different way of communicating, which is far less concise. However, with ‘Bound and Determined’ I have endeavoured to listen to my teacher and create something in response to his work. To show with Peter is a real privilege and I know I am just one of the many students who will always have respect, admiration and affection for our tutor.