Over these past 30 years, I have dedicated my work to two series, ‘Face-to-Face’ and 'Stacking & Piling.' The sculptures in ‘Face-to-Face’ are portraits that reflect upon the intimate relationship between subject and model. I'm particularly motivated by the process inherent in portraiture, which induces both self reflection and a form of combat between myself and the clay. The sculptures in 'Stacking & Piling’ question the traces and concerns which emanate from political effervescence, social, political and natural catastrophies. These sculptures are built like spontaneous memorials, amalgams of ordinary objects, often symbolic, which have an immediate relationship to a particular catastrophe or loss. Here, I use the process of free association, to build, assemble, accumulate, stack & pile the objects that symbolise the gravity of the situation. Both series research the concept of empathy, commemoration and the passage of time.

As far as the material is concerned, I am fascinated by the clays complexity; it’s transformation from liquid to solid, the contrast between clean and dirty, rough to glossy, soft to hard, from mud to art. The freedom in form and expression, the glaze painting and firing intrigue my research and push my processes constantly. The primal clay, our earth, distinguishes our territory, nationality, cultural heritage and ancestry.

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Statement

Over these past 30 years, I have dedicated my work to two series, ‘Face-to-Face’ and 'Stacking & Piling.' The sculptures in ‘Face-to-Face’ are portraits that reflect upon the intimate relationship between subject and model. I'm particularly motivated by the process inherent in portraiture, which induces both self reflection and a form of combat between myself and the clay. The sculptures in 'Stacking & Piling’ question the traces and concerns which emanate from political effervescence, social, political and natural catastrophies. These sculptures are built like spontaneous memorials, amalgams of ordinary objects, often symbolic, which have an immediate relationship to a particular catastrophe or loss. Here, I use the process of free association, to build, assemble, accumulate, stack & pile the objects that symbolise the gravity of the situation. Both series research the concept of empathy, commemoration and the passage of time.

As far as the material is concerned, I am fascinated by the clays complexity; it’s transformation from liquid to solid, the contrast between clean and dirty, rough to glossy, soft to hard, from mud to art. The freedom in form and expression, the glaze painting and firing intrigue my research and push my processes constantly. The primal clay, our earth, distinguishes our territory, nationality, cultural heritage and ancestry.

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