NEWS:
My practice is about visual transformation and the role I have as a craftsman in achieving it.
I mainly work with wood: carving, charring, bleaching or casting to create highly contrasted objects that are visually intriguing or interesting. The contrasts act as a counterbalance to the natural properties of the wood, enhancing it while changing it at the same time.
Charring gives the wood a denser, deeper texture beyond its basic colour and contrasts well with the metal which I cast into it as well as with the natural grain and colour of the wood itself.
I use untreated wood which isn't kiln dried, so every piece reacts differently. It may show evidence of age and can crack or split while I am working with it. It is important to be flexible and sympathetic towards the material when adapting the original idea to these challenges. The random element is important – it as an opportunity to learn from the material and be surprised at the result. You see this in my sculptures but in my recent “Sculptural Trails” series takes this a step further by allowing the sculptures themselves to leave their own unique footprint.
There are no defined meanings or concepts behind my work but I want the viewer to engage in an act of contemplation.
I mainly work with wood: carving, charring, bleaching or casting to create highly contrasted objects that are visually intriguing or interesting. The contrasts act as a counterbalance to the natural properties of the wood, enhancing it while changing it at the same time.
Charring gives the wood a denser, deeper texture beyond its basic colour and contrasts well with the metal which I cast into it as well as with the natural grain and colour of the wood itself.
I use untreated wood which isn't kiln dried, so every piece reacts differently. It may show evidence of age and can crack or split while I am working with it. It is important to be flexible and sympathetic towards the material when adapting the original idea to these challenges. The random element is important – it as an opportunity to learn from the material and be surprised at the result. You see this in my sculptures but in my recent “Sculptural Trails” series takes this a step further by allowing the sculptures themselves to leave their own unique footprint.
There are no defined meanings or concepts behind my work but I want the viewer to engage in an act of contemplation.
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The first cut
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"Heartwood" - 2019
Sculptural Trail #13 - 2019
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