Commissioned for a property in Hong Kong

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Drawing Water is designed to make every angle filled with a dynamic and playful energy. From some viewpoints the sculpture is quite self-contained from others open and reaching outwards. In some ways the sculpture echoes the unpredictable but structured SPLASH of water, bouncing out of a pool while a skillful brush strokes calligrapher tries to capture the fleeting dance. A sense of structured order is balanced with an organic flow.

The sculpture is light on the ground, it bounces from the base as it is drawn upwards. The volumes articulating a change of direction and a darkening solidification of the rhythms of the work. It is a work of elastic, perpetually, moving energy. Joining, and connecting, holding up and diving down, balancing twist and turns with strength and clear purpose. It is a work that balances the need for high theatre with an explosion of movement, in other ways it is highly sensitive with its carefully crafted curves and modelled forms and subtle gradations of color. It has elements that are descriptive, falling of a drop of water, and others that are enigmatic and articulates the endless structural flow of life itself.

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Commissioned for a property in Hong Kong

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Three and Four is a single bronze line that connects point to point by changing directions through a series of organic junctions. Three rooted to the ground, four held high in the air. Hints of coppice trees and growing hop vines can be seen in these growing, nutty form and sinewy lines. Its dancing gesture sits on a liveried leaf green and dark viridian base that reference the green of the buses that once moved endlessly in and out of the space. I well remember as a school boy, waiting by the bus stops scruffy café as the buses circled round, coming and going, tracing a stopping line through the countryside.

The abstract nature of work allows it to have many visual suggestions, its form however a perpetually looping, intertwining solipsism, a type of narrative born of place, of the wood and open meadow, of growing thing. A single line whose change of direction doubles back on itself to create an endlessly enclosing, almost musical rhythm.

The work reflects on the interdependence and intertwined nature of both the natural world and the currents of history. It is simple form with a complex meaning. A musical signature, crisp but familiar, a dance to the music of time.

And for the sharp eyed and quick witted, three and four make seven.

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Commissioned for a property in Nice

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Commissioned to stand at the entrance of a new suite of buildings on a historic water side site at the mouth of the Yong River, Knot Thinking is a work that takes its lead from the calligraphic tradition of Chinese painting, where intuition and long learned discipline come together.
The 3-dimensional gesture of the sculpture is both considered and free flowing. It balances the need for structured, clear thought with the open-ended speculation of creativity.
The color, an apple vibrant green, grades from a tangy yellowish green to a quieter but strong primary green; clear in its purpose to be noticed, but subtle in its gradation. The finish of the work is assertively contemporary, but the open-ended puzzle of how it fits together, of the balance between support and entanglement is as old as time.

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Commissioned for a private villa in the hills outside Nice, Knot Now is part of an ongoing investigation into the eloquence and perpetual puzzle of lines resolving themselves into knots.
Knots are designed to be both permeant and reversable, they are emblematic metaphor for decision making, for path taken and subsequently bifurcating into many more possible paths. In this sculpture the working out of journey is clear and articulated, but the journey folds back into itself. The beginning and the end fusing together.
The saturated warm yellow of the sculpture is a reference to the heat of the southern sun and the presence of the ubiquitous sunflowers that grow nearby.

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