The human figure’s interactive relationship with natural, elemental forces is the primary theme of my glass work. I was initially interested in the idea of man’s attraction to and fascination with water and how the body feels and moves in this essential life-giving substance and especially how, when swimming, one can almost imagine oneself becoming fish like. As a keen and regular swimmer and water polo player, this watery conceit seems almost believable.
Human/animal composite figures also interest me, whether from ancient classical times such as the Minotaur, or creatures of my own invention expressing a deeper connection to the natural world. Our urge to reconnect with nature is now more important than ever, as we find ourselves wandering adrift in a technologically sophisticated digital lifestyle, cut off from a sense of wonder in our natural environment.
I primarily use kiln casting glass techniques in 3D and in relief forms, also resin sand casting using centrifugal methods. Previous experience of glass blowing informs my kiln work, inspiring colour combinations and inclusions of stringers and glass fragments.
I have now returned to glass blowing as my primary practice in glass, as this was the original spur and inspiration to enter the world of glass in the first place. I’m particularly fascinated how glass is a moving, living substance when it’s molten and in flux during the glass blowing process. I try to capture this movement and plasticity in the finished piece, by incorporating and embracing a fair amount to chance and unpredictability, but hopefully with a certain amount of control! Hence each blown piece is unique and unrepeatable. I like to capture ‘events’ by twisting and turning at various depths in the glass; all in an effort to encapsulate the nature of glass.