ARTISTS TALKING

I draw inspiration from a deliberate conceptual meshing of my immediate everyday experiences with images and ideas from the global information interface provided by the mass media. I am a news glutton; coverage of almost anything interests me.

These are forms derived from fragments of fuselage, struts, rotors and fins yet with no sign of violence, no charred torn edges, simply a calm stillness. In a second room I wall-mounted a wooden replica of the spyplane responsible for the stand off between the United States and China last year. This outsized model is a marker at a point where history swayed, as two ideals squared up to one another – a moment now eclipsed by 11 September 2001.

My working process is intuitive, ideas move rapidly into physical forms. The sculptures are usually fabricated in wood, then coated in resin, sanded, painted and finally polished to a smooth sheen. They are made using techniques more commonly found in rapid prototyping and model making shops. At first glance they appear to be manufactured rather than sculpted, but for what purpose?

I like the idea that they might have emerged whole from the ether – order out of chaos. I think of my sculptures as a chimera – a kind of bastard child of a metaphysical idolatrous liaison between playtime and real-time.

The sculptures are designed to be vehicles for the minds eye, enticing the viewer to 'play out' the events of a 'true' story. My work stems from a fascination with the mythology of mankind's unfolding history. I make relics of our time as a homage to the congenital human capacity for creation and conversely for destruction. I am inspired by the junctures where dualities meet, the relationships between childhood and adulthood, myth and reality. I see these as metaphorical collisions mirrored by modern catastrophes.