My work plays with the architecture of nature and organic growth. By identifying patterns and motifs that occur in the natural world in different contexts and at different scales, both macroscopic and microscopic, I have developed a formal, aesthetic vocabulary that I use to construct hybrid sculptural forms, half real, half surreal.
Both familiar and other at one and the same time the sculptures make multiple visual references: cell structures, microbes, pathogens, vegetal forms, coral, fossils, insects, shells, the bodys organs and orifices, geological structures, relief maps, cut away models, petri dishes etc By mixing science and art, observation and imagination I hope to elucidate both, the breathtaking detail and complexity that exists at every level of scale in nature transformed by the eccentricity of the individual imagination. A recurrent theme in my work is the limitations of science when confronted by the vast scale and complexity of nature, science's goal of containing and defining nature is constantly subverted and fractured by the sheer volume and variety of data that needs to be observed, analysed and classified. My work similarly attempts to frustrate categorization.
Process and material are also important; the large hand cut pieces are dissected from sheet after sheet of paper in careful scientific fashion with a scalpel knife, sometimes taking months to complete, the slow act of cutting repeating the long time-based processes that dominate nature: growth and decay. Paper, my chosen material, embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy.
"The tree which moves some to tears of joy is in the eyes of others only a green thing that stands in the way. Some see Nature all ridicule and deformity...and some scarce see Nature at all. But to the eyes of a man of Imagination, Nature is Imagination itself." William Blake