“What we make reflects our conscious, or more usually, our unconscious nature. How we respond to the world and our experiences informs our intellect and feeds our psyche. As human beings we are all deeply connected, and yet neither words nor forms can express the true nature of this oneness. As creative beings we try to carry this spirit forward; our work is an echo of that oneness, limited of course, not the thing itself, but important in the current world climate.
The natural world is a source of considerable inspiration to me. As I walk through the folds or ridges of hills, I have the sense that I am moving over a vast sculpture. I explore the gradient, surface and textures of that sculpture. I pick up a rock, a seed, some bark. I do not ask myself why I am drawn to that particular form. The small object I have chosen may sit in the studio for months, or years, before I return to it. Then, there is a more conscious observation about the quality of the form and the way that light falls on it. It is the qualitative feeling that is my guide. When I begin to make a new shape I do not usually know what the intention is. I hope that the eventual form will emerge from a background of observations, both visual and sensual. I feel my way forward along these invisible threads as my guide. Sometimes there is considerable struggle finding the form, but when it finally appears it seems as if it had been waiting to emerge: there is a kind of ‘rightness’ about it which, in retrospect, looks obvious.
Perhaps we all explore a few chosen themes in our lives to. Sometimes it may look as if we had abandoned them. But, almost certainly, we will rework them in another way, or allude to them indirectly, from time to time. Eventually we will almost certainly return to them. We may conceptualise these themes, because labels are the dominant language of our society, but concepts are not the essence of my work. Concepts may stimulate the mind, bring humour and evoke curiosity, help to understand the motivation behind the work, but it is seldom the conceptual element of an artwork that intrigues or draws me to it. In any case, I wonder whether, as makers, we are in the best position to understand what motivates us and why we create certain forms and images? “