My commissioned work often has a predetermined function
e.g. to mark an entranceway or footpath, to provide seating or provisions
for a notice-board. I pursue a coherent artistic strategy within
the parameters of the brief.
A piece of work should be seen as a response to the
landscape in which it is sited as well as being a referential image.
I have always been fascinated by the way that sculpture can redefine
space and even generate its own 'mythological' space. In the 'Feeders'
at Summerhill the idea was that the space around the sculpture would
be charged with the sense of imbalance while the terminations at
the tops of the upright members foil the upward thrust that would
otherwise extend indefinitely.
The gateway pieces at Cragside were intended to mark
footpaths and also to define the boundary of the Labyrinth. I decided
to make pieces of sculpture which straddle the footpaths and therefore
invite the public to enter the space within the sculpture.
One feature of my work is to import form from other
disciplines, to find new ways of working not usually associated
with the medium. The 'Torque' at Summerhill was commissioned to
mark the entrance to the visitor centre. In various consultations
with the landscape architects and 'The Friends of Summerhill' a
number of ideas were put forward regarding imagery which could be
incorporated into the design. The image of a tree emerged as important
as was the history of the site. My idea was to fuse the tree image
with forms from bronze age jewellery since some significant archaeological
finds had been made at the site, including Roman, Bronze Age and
Stone Age artefacts. I am interested in finding form which can represent
different things simultaneously or which can be understood on different
levels. Indeed, the carved surface panels on this piece add a new
dimension independent of the basic form.
Most of my recent work has involved carving and constructing
in wood although I am also experienced in ceramics and in blacksmith
techniques. In the large outdoor work, timber must be carefully
selected. This sometimes means sourcing from the forest. I use the
most durable timber available i.e. oak or sweet chestnut which are
rich in natural preservatives such that only minimal treatment and
maintenance is required. Much of the initial work is done with chainsaws
and power tools whilst finishing involves more traditional wood
carving techniques. One of the main problems with working in wood
is in maintaining a feel of spontaneity while finding solutions
to the immense technical and structural issues. I have developed
my own personal solution to this through a wholly integrated working
practice. By approaching problems in a series of decisive steps
whilst holding the whole piece of work in mind it is possible to
express a naturalness or fluidity in even the bulkiest of materials.
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