About

 

What has always interested me was the relationship between architecture and sculpture. Historically sculpture has been a support to architecture however, painters and printmakers were free from the confines of the physicality of the object and ventured into arrangements of architectural elements which often had ambiguity and irrational juxtapositions and theatrical lighting in Baroque Painting etc. This resulted in metaphysical qualities, with works of artists like Escher and the countless ambiguous staircases and the blind endings.  There are  echoes of this kind of metaphysical feeling  in the works of De Chirico and  Piero della Francesca who's paintings always have this strange ‘quietness’ and 'stillness' which transcends the human images included in the architectural settings. Even in Mannerist and Baroque Architecture there are all these same elements of blind stairways  and  other illusionistic and theatrical devices.

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I have admired Busby Berkeley's  movies https://en.wikipedia.org/wiki/Busby_Berkeley . The wonderful rhythmic geometric arrangements of both dancers and stage settings with the stairs often as a central focus and  where all action takes place with its visual flowing elements and geometric forms. 

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I have been  interested in what I see as  ‘expressive geometry’ where forms are arranged in visual motion (static but implied moving). My early work is exemplified by a more formal (expressive) geometry and later works (post USA) with casting techniques, as organic forms were supported by geometric structures which had a Baroque like sensibility.

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The current  works (2020 onwards) are like capsules of theological/human  feelings made concrete in sculptural/architectural form.