This show encapsulates my preoccupation with the motif of the falling form as a symbol of the predicament that men find themselves in at present – at a time when women are working full or part time, and men are struggling to maintain their credibility. Rather being construed as a sexist onslaught however (there are some graceful and elegant female forms in the show) these sculptures should be seen in the context of current values/mindsets and behaviours which seem to be directed at eroding all that mankind stands for. We have lost some sense of self worth and many aspects of marketing and advertising are constantly playing down male contribution to society.
The hope is to evoke an emotional response from the viewer – to get them to feel what I feel, to at least say, yes, we are all in this together, we all have our part to play. So it is not through some missionary zeal that I work in stone, but because it is a material that has weight and density - a gravitas, it is timeless, a quality that has been embraced by the best in the business since man was able to forge steel and handle a hammer and chisel. It’s suitability as a material to underpin ideologies, to glorify the most prominent civilizations known since man’s creation, gives it a presence that the Aztecs, Egyptians, Greeks & Romans and the Renaissance artists found to represent the supreme expression of power and authority and it still has the same allure today
'Fall Apart' - Sebastapol
This show deals in part with references to the vertical form, spiraling through the air, out of control, swimming against the tide, broken and fragmented; it embodies heroic myths such as the downfall of Icarus, steeped in his own pride, to religious figures such as Lazarus – synonymous with a new beginning, a renaissance.
Drawing in the Studio
Alongside the sculptures, which number approximately 25, (mainly in French limestone, but also using alabaster, granite and a regional favourite – Portland) are prints and montages of my drawn studies in mixed media, which are often executed in groups; a quantity of wax maquettes, which I use to visualise the forms as full scale 3D sculptures; and large drawings in inks and charcoal that are an aide memoir or visual preliminary sketch towards the stone carvings, and a chance to pin point the action/drama before launching into the stone.