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My newest sculptures, the first body of work I've made with the pure intention of artistic investigation, rather than in response to a public or personal commission, are, equally uncharacteristically, in a less than life-size scale. This allows the viewer to look beyond the biology of the figurative sculpture. As such, I'm not interested in the body physical, nor in the politicisation of its biology or in any binary assumption perhaps suggested by… the presence of the naked form. I suggest that the figure, the body, the representation does not need to mirror to instil feeling, to encourage that emotional engagement. I'm interested in a universality in the human condition that is far more nuanced, something under the skin. Here, David is reticent, his downcast eyes juxtapose his open posture, arms spread-eagled, as if offered up for judgement...
Fascinated by the power of figurative sculpture, the classic medium to express greatness, I create works ranging from busts of the less-represented, to political kinetic sculptures questioning the preponderance of white, male figurative memorials. One such, The Ectoplasm of Self-Delusion (steel, resin, vaseline, motor), won the RomArt Sculpture Prize (2017) in Rome.
In 2018 I produced The Children of Calais (resin), a life-sized sculpture of modern children in poses echoing Rodin’s The Burghers of Calais, recognising the plight of child refugees. Shortlisted for Passion for Freedom, this led to a commission for the UK's new Kinder-transport memorial.
I'm also fascinated by non-figurative forms of memorial: Memorial (plywood, oil, pump) won the Sustainability Art Prize, and The Holy See Gets It (prayer book paper, ink, human voice) concerning clerical sexual abuse of children, won the Arte Laguna Prize (2016) in Venice.