I see my work as a distillation of form inspired by elements in the natural world, simplified to geometric basics. Work evolves in a natural way as forms are assembled or juxtaposed, often unintentionally, and suggest other textures represented in nature.
Examples are the seedpod and the ‘squid’ – the former became a seed and husk through accidental cutting through a large seed into which a smaller seed would fit, the latter gained its name from its appearance (though it is also reminiscent of a jet engine, fossil, insect body and marine shellfish). ‘Planet pots’ ( which evolved later into the ‘big/small boats’ theme) arose from a nesting of separate forms to save space in biscuit firing. And the ‘knife form (and especially their development into ‘saddles’ and ‘flakes’) when stacked in varying sizes and arrangements bring to mind vertebrae, coastal defences or reptilian scale/skin.
Most of my output is currently ceramic and multipart sculptural work often offering a variety of display arrangements which invites the observer to take part in the creative process by repositioning elements.
I believe most artists are compelled to create from an inherent need to express and realise ideas or concepts. Often it isn’t a choice, but there is satisfaction when a piece ‘connects’ with an observer.
Working with forms using primitive geometries allows them a scale (and sometimes media) independence and it would be interesting to explore larger scale versions of the forms I’m developing.
My degree was in 3D design with 5 day week 9-5 hands-on manufacturing approach using ceramics, wood and metal with attendant design drawing and photography. Although currently working with clay, this is a matter of material and tool accessibility rather than choice.