I am a humanist artist interested in people's emotions, relationships and interactions. My recent work has focused on the female form; timeless women who hold the fabric of societies together.
I love free-carving in a wide range of stone. In the summer I work on large pieces outside in the garden, and in the winter I develop smaller sculptures and maquettes in my studio. For the larger sculptures I tend to use hard Purbeck and Portland stone, and for smaller pieces I often use Bath stone and Caen stone. My largest sculpture to date 'Children at a Rockpool' was commissioned by the town of Dorchester, Dorset and can be seen in public at Poundbury.
Throughout my prolific career, spanning over 30 years, I have shown my work in over 200 exhibitions. In addition, once a year I open my studio and garden to the public during Dorset and Purbeck Arts Weeks.
I hope you enjoy browsing my site and if you would like to know more about me, or my work, then please get in touch.

Working on a large sculpture in my garden studio - photo courtesy of Nick Cooper.
My work has progressed through a number of naturally evolved phases throughout my career. At the outset I was heavily influenced by abstract sculpture particularly the work of Henry Moore, Barbara Hepworth, Henri Gaudier-Brezka and Constantin Brancusi.
After a time I began to realise that, to my eyes, abstract sculpture was overly cold and that what really fascinated me was people and warm emotions. This led to my work assuming a more figurative poise, articulating human forms in a more realistic manner. However I found producing purely figurative work an unsatisfactory process. I am now trying to find a balance between simple form and strong human themes.

In recent years I have made a series of female forms, 'timeless, universal women', who are the same all over the world, from 'touch the earth' societies to modern urban women. Much of the influence for these themes comes from my childhood; my mother’s sayings and the realisation that women's lives and roles can change very quickly, particularly across generations, and that skills and lifestyles are fast forgotten.
Perhaps the most significant influence on my work is the material itself. Stone's weight and solidity lends itself to quiet and meditative subjects with an inner life. I get a sense that I have gone back to my roots with my work, as my father’s ancestors were farmers and quarry men in Pomerania, Germany (an area of modern day Poland).

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