Starting with a sphere, an atom of infinite potential formed with a child-like movement of the hands, each work is a continuous evolution from its predecessors as I draw directly in three dimensions from simple beginnings towards ever increasing complexity. The process involves the accretion of 'molecules' to describe volume and penetrating the surface to reach in and release the contained space. The each object is like a fossil of the 'fluid stone' I use.

Over the years, the accumulation of disparate ideas and ways of working created a white noise that I needed to clarify. This process involved eliminating prejudices, assumptions and preconceptions to create a ground zero from which an authentic voice could emerge.

I had had previous experience with clay which presented itself as the ideal medium with which I could represent an evolving philosophy. It is an essential material, primeval, with the transformative power to take on textures, forms and meanings, enabling me to grapple with the ontology of ideas emerging from disparate areas: biology, archaeology, anthropology, world cultures and sacred art.

Working with symmetry and balance, the infinite durability of fired clay contrasting with the fragile and delicate forms it takes: these are ways of dealing with dualities such as order and instability, equilibrium and vulnerability. Much of our history is documented in the survival of clay artefacts; a metaphor for how things are subject to the vagaries of time and circumstance.