THE STUDIO OF          





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In an attempt to summarise my philosophy for sculpture I kept reverting back to this quote by Andy Goldsworthy. I found myself struggling to say how I felt in a more eloquent way.

In the words of Andy Goldsworthy

“For me looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. Place is found by walking, direction determined by weather and season. I take the opportunity each day offers…

…Movement, change, light growth and decay are the lifeblood of nature, the energies that I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. I want to get under the surface. When I work with a leaf, rock, stick, it is not just that material itself, it is an opening into the processes of life within and around it. When I leave it, these processes continue.”

I find natural detail intriguing and like to take the time to look at this and find new perspective. When you take time to observe things its like ‘tapping in’ or tuning in to what you see and feel. It’s not just a case of face value observation. The book title ‘Seeing is forgetting the name of the thing one sees’ by Robert Irwin seems to sum up this ethos. When you work with materials or spend time in one place that’s when you begin to get ‘tapped in’. It then becomes part of you and you are part of it. You see things as they are; without labels or preconceptions. I wanted to explore this in the visual and sculptural context of nature and the environment.

Above all else, we respond emotionally to our environment. We are sensitive especially to any visual or sensory changes that occur around us. Why do we react so differently to things we see? Why do we react so strongly to change? Especially change that we sense is not completely under our control or our design? There is a complexity behind this aesthetic reaction we may find somewhat mysterious.

I feel an understanding of this ‘emotional response’ allows a far greater depth of creativity. So whether its a photograph, sculpture or indeed a garden design, my intention is to use this intuition and observation to abstract what I find and to express it through an emotional as well as visual response.

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