Walkthrough

Introduction

Urge to speak

Language to sculpture

Different language

Compelled to express

A ready formed idea

Polymathic background

Suspicious of belief

Doubts

Unsustainable sense of omnipotence

Painting and sculpture complement

Informed work

Painting informs sculpture

Continual levelling off

Text sculpture

Love of letterforms

Hot metal press as sculpture

Interested in publication

Work at University of Sydney

A common sensibility

Tradition of sculpture

Homage to Henry Moore

Understanding sculpture language

The continuum of sculpture

NAS tradition

Acknowledging richness

Sydney School of Sculpure

Relating to earlier people

Combining house and studio

Devastated losing studio

Separation of home and studio

Studio and house setbacks

Grinder noise

Positives and negatives

Home and studio in rural NSW

Larger production than market

COVID

Sculpture wilderness

Works connect over time

Combining abstract and figurative

Keep the language open

Ill disciplined connections

Abstract divorced from figuration

Work defiant of reference

The figurative pieces

Relationship with history

The cut-outs

Embody physical experience

Sense of fun

Queues

Pleasure in the line

A disciplined response

The role of intuition

Describing where you are

Importance of landscape

A kind of rebirth

Inhabiting rather than representing

See through object

Light does not lend itself

Disintegration of object

Steel dissipates itself

Simultaneously absent and present

Tension between surface and depth

Cutting not shaping

A debt to drawing

Some general principles

There can be no certainty

Discounting inherent value

Constant revolution

The principle of revolution

The blog

The way things can come to you

Commissions

Impossible to work with

The brief

The constraint of the brief

The best work

Can't tell me what to do

Resistance and repulsion

The practice

A wood carver

Thank you

Credits