The Vision

Artist Statement

The results of my practice have always produced a diversity of output; at the core of this practice is my desire that the fundamentals of process, material and subject are inclusive and interchangeable allowing me to freely facilitate opportunities of expression via the overlapping of the seeming unique and separate
conventions of sculpture, painting and print. With this at the center I employ both traditional analogue technologies, while concurrently exploring and developing digital modes. i.e., I am equally invigorated when modeling figurative or representational forms using wax, ready for bronze casting, or when manipulating geometrical models in CAD (Computer Aided Design) towards 3D printing or other forms of Digital Manufacture. Parallel to these activities there are numerous times when my subject needs to be addressed by the convention and language of painting. On occasion the seeming separate conventions can reciprocate with each other, influencing the direction of execution, e.g., painting or 2D printing might suggest the kernel of an idea that concludes as a digital sculpture and vice-versa.

My interest in, “ Digital Manufacture”, as a tool for making and production, is a product of my early careers an engineer, this was prior to studying painting in London UK, at both Central School of Art and Design and Slade School of Fine Art in the department of Humanities at UCL (University College London). Soon after completing my Post graduate studies at the Slade I was appointed as a part time tutor there. During my period as a tutor I was awarded, a two year Henry Moore Scholarship. With this award I was able to embark on a research project, which I entitled, “Sculpture through the Keyboard”. My research question being as to if digital means could become part of my expression and aesthetic cannon. The knowledge I gained from the engagement with new technology is now integral and equal with my love of tradition methodologies.

Using fusions of these methodologies in unison, I presently attempt to synthesize the dynamics of fluid geometries and form towards the visualization of expressions that convey a sense of wonderment and curiosity, as to what form a sublime or aesthetic experience might take. These thoughts have led me back and forth from figuration and abstraction and vice-versa, though at present I am finding my commitment to abstraction is the direction I must pursue. In my early works I would use exaggerated geometrical representational forms to construct storytelling based narratives, however this has now given way to the conveyance of meaning via allusion, which is unified via gestalt principles. The expression now is towards sensation rather than explanation and a desire for the audience to project and participate rather than be instructed or led.

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