Since the early 1990's I have been making sculpture that concerns itself with the landscape in its broadest sense, the
multiple, overlapping contexts for individual human lives and collective human activity.
I have always been interested in producing work that examines our culture, that celebrates and critiques the society that
surrounds and gives rise to it, tackling big themes in a readable, accessible manner, whilst trying to avoid some of the
pitfalls of simplistic polemicism.

In 1991, during the first Gulf War, this led me to make some small-scale pieces that expressed the insecurity and
powerlessness that I felt in a world that seemed fragile and under danger of collapse as a result of geo-political and
economic game-playing. Toys and game play references seemed to me well suited to describing both the brinkmanship
activities of world leaders and the feelings of alienation and powerlessness the whole situation created in me, at least.
(Images)

During a residency at a school in Epping, Essex in 1992 I would commute from inner London Whitechapel to the bucolic
outer edge of the city on a tube train that passed from East end poverty and squalor through suburbia, the edge of the
last remnants of the great, ancient Epping Forrest and even through fields of cows before reaching the affluent area just
beyond the outer boundary of London. I became interested in expressing aspects of the landscape as a physical
manifestation of multiple processes, some natural (geological, biological), some human (historical, political, economic).
(Images)

Through the mid to late 90's, as the British BSE "Mad Cow"scandal unfolded, I extended my expropriation of the toy cow
as a contradictory emblem of the collision between our romantic views of the benign, peaceful and above all "natural"
landscape and the reality of the human needs-orientated economic construct of the English rural panorama into various
media: digital prints, digitally-assisted 3D collages and small metal sculptures.
(Images)

Recently I have been producing several parallel, open-ended sequences of domestic scale bronzes that aim to explore
some of the broader aspects of the landscape we find ourselves in.
The "Colonies" look at ways of portraying the shaping of our world by the cumulative action of multitudes of apparently
independently-operating individuals, each of us the hero of our own story whilst we construct, or manoeuvre through,
various hierarchal structures, not necessarily aware of the wider consequences of our actions.
(Images)
The "Corpus" are an attempt to give form to the impact of evolution and "natural" processes on every aspect of our
culture and structures.
(Images)
 The "Im/Perfected Objects" are part of a search for a succinct means of expressing the contrast between our apparent
need for ideals of perfection in our intellectual and spiritual constructions and the practical reality of the messy,
complex, physical, material world that produces them.
(Images)
The "Infantas" approach the issue of the nature of our individuality as independent, seemingly free-will driven identities
in a world where each one of us owes their existence, behaviours and thought-processes to the previous actions and
structures of innumerable forebears and contemporaries.
(Images)