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Introduction

All of my work has a figurative base.

A sculpture that has all the colour, structure, freedom and openness of painting is my aim. Three-dimensional objects define and are defined by the space in which they exist - paintings, two-dimensional objects, can suggest three-dimensions and continuance outside the frame.
From photographs of people - and recently of dogs, I create many drawings in pastels, charcoal, graphite, and through them gradually abstract information about the figures.
I experiment with various colour relationships, lines, thicknesses and shapes; which can form the basis of wall-sculptures and free-standing sculptures. These are constructed in wood/metal/plastic and incorporate shaped, painted canvasses. Some of these sculptures are designed to incorporate lighting.
I want to concentrate on relationships (of the subject and the onlooker) rather than reproduce the figure.
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It is essential that I choose the right photograph, one which contains a lot of information about the subjects, their relationships and character.
Through the drawings I do before and during construction of the sculpture, I develop the colour themes, the frame-work, canvas shapes and some wood-strokes, all of which influence the overall form of the work.
I select various types of wood - for their natural colour and grain pattern; which is then shaped, maybe stained, polished, varnished, as though they were part of a painting.
Most sculptures have a painting stretcher frame, or items, incorporated into the design to show the development out of the painting.
The canvas shapes contain and define the main solid focus of each work, using various different painting application techniques to further describe and enhance the forms, and the relationships between those forms.
Frame-works and canvas shapes are connected and intertwined at three-dimensional levels to contribute to the relationship of the subjects.
The lines and wood-strokes that form part of each sculpture further emphasise the three-dimensional aspects and serve to contain and define the shifting white space.
Both wood and canvas are protected with a gloss, silk or matt varnish. Where lights have been incorporated they can be seen as brush-strokes and 3D space-enhancers.