STUDIO PIC1I am a sculptor, maker, letter carver, and stone mason living and working in Cambridge. For the last 30 years I have worked in stone, mainly indigenous British quarried stone. I trained as a stone mason in the early 1980’s. After obtaining a Fine Arts degree, I spent the following decade working as an artist, a truck driver and renovating houses.

I have worked in quarry masonry shops and as a sub-contractor on a variety of restoration, renovation, historic building and ecclesiastical projects. Throughout this time I have produced a considerable number of bespoke memorials as well as making work that is influenced by my life long interest in archaeology, artefacts, folk art, and signs and symbols.
A move to Cambridge has afforded me the time, space and opportunity to balance my work. I am able to spend more time on fulfilling the need to work with the personal and the meaningful, while continuing to work on memorial commissions, sculpture, small works and architectural detail.

My sculptural work is concerned with subjects that have preoccupied me all my life. In part these are philosophical – relating to a search for meaning and completeness in paradox and opposites. They also represent attempts in 3D form to find ways of expressing intimations of loss, time, memory, and imagined histories.

In a practical sense the work is informed by my training as a stone mason and architectural carver. It utilises the disciplines and geometry of the craft that has formed my life for many years; carving and incising stone is the art of manipulating light and shade upon a solid surface. The work is also coloured by travel, particularly on the Mediterranean coast and islands, and the South Western states of the US.

Literature is also important, I don’t make work to depict but to evoke, rather as poetry seeks not to describe but rather to resonate. The short story in its honed and polished completeness also plays a part.

The pieces often contrast highly finished surfaces with the broken edges of ruin; a form of ambiguity. Archaeology, artefact, patina, myth, implied narrative are also all informative. It seems both more poignant and increasingly urgent to create by eye and hand at a time of accelerating change. The work I make resembles, without being homiletic or proscriptive, a form of memento mori and evokes time, loss & passing.

I think of my work as something made with discipline, purpose and consideration, that together enable it to act as more than decoration.