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IN MY CASE... 

Sculpting began as a search. A need to speak when I struggled to communicate. A creative urge which made my fingers itch on days when I could only sleep. It is the language I developed to express my emotions and the way I experience the world. 

I played with paper and polymer but nothing matched the immediacy of clay, its ability to be monumental and still capture the delicacy of a fingerprint. There is something visceral and cathartic about making art with your hands; shaping something in a medium which can be altered by the heat of your skin. 

Chronic illness has altered my life; it has been something of a new becoming. It is very powerful to be able to guide the future of a piece when you are conscious of just how little control you have over your own life and body.

For me, mythology is a primal thing. It is a search for truth. It sums up our human desire for understanding so neatly that I can think of no better lens through which to confront and explore.

That desire to understand powers our lives, either subconsciously or as a motivating force. We are this need. It is a result of our consciousness. It has driven us to develop mathematics, science and even to explore the universe. Sculpting is my inquiry. 

The duality of our inquisitive nature and thick-footed obstinance leads us to awesome heights and into the heart of quagmires. We are a fascinating subject. The kaleidoscope of  our emotions, the evolution of our self-image, the moments which test us and how we respond to them. 

I have always found the body itself compelling. It is a delicately balanced organism, dynamic and beautifully crafted. There is a poetry of rightness to the body when captured skilfully. The Sinclair Method allows me to create a form from its internal architecture and vital proportions upwards so that, even unfinished, there is beauty in the clay and character.

I strive for realism in my sculpture, not down to the pores of the skin but down to the rhythm of our underlying musculature. If my work can make someone look twice and capture their interest with an unexpected detail, I will be quietly thrilled. 

The human condition is fraught, wonderful and vaguely ludicrous. At first glance my sculptures are classical in nature and mythic in content but it doesn't take much to realise there is more going on. My work is visually arresting and often darkly humorous. It embodies the pitches and peaks of human emotion, the moments which catch us off guard, bowl us over with sheer elation or leave us struggling to breathe.