I’m a British artist based in Northumberland. My figurative sculptures move between realism and abstraction. I like this challenge since it requires me to balance the fundamental principles of anatomy with the creative freedom to edit, simplify, or accentuate various aspects of each work. My training as a sculptor has instilled in me a profound appreciation of the formal sculptural concerns of form, volume, mass and not forgetting texture and colour. These elements of my artistic vocabulary allow me to explore human experience in its myriad contexts. Since I’ve always worked with people they are of deep relevance to my practice. Among the many other influences on my approach and chosen media is the rich history and landscape of my rural home, high in the North Pennines, and my childhood in South Africa.

My early sculptures began in wire and paper, developing into modelling in clay and casting or working directly, in concrete. The physical process of building sculptures with concrete – its dustiness, various aggregates, water and weight – and its time demands which enforce patience and distancing, are compelling. Clay feels less harsh, more yielding. I engage best with this hands-on approach to making sculpture since it enables a dynamic interchange between leading and being led by both the material and the processes; it allows initial subject ideas to change and develop as the work emerges. Casting is a pain in the neck but ultimately exciting as the cured image inside the mould finally emerges, and then a host of finishing considerations and techniques follow.

Drawing has always underpinned my work and is often the start point to exploring an idea for a sculpture. And, since my work is figurative, regular life drawing from the model is fundamental to my understanding and a hugely enjoyable part of my practice.

A busy corner of the studio