"My original training in the arts was as a furniture designer and maker. For many years I pursued this career in Australia working to commission for private clients, collaborating with architects and producing my own product lines. Increasingly, my work tended towards the sculptural and abandoned traditional furniture forms. My Masters studies in Sculpture accelerated this trend. The work produced for my MFA thesis consisted of gallery-wide installation of 'furniture forms' produced in limited series and having a strong mutual resonance.

My current work focuses on both functional design and formal sculpture. The most recent body of work is purely sculptural, but draws strongly on design and craft. In these pieces I access the rich traditions of craft practice by using largely outdated techniques such as coopering, and the pattern-making techniques of stack lamination and segmented turning. I have also maintained the designer's focus on the relationship of the finished object to the human user/observer. Most pieces are human or slightly larger than human scale: referencing the human form while setting up a visual and 'visceral' dialogue with the audience.

I am very interested in 'utility' in my work. I think that the potential for a piece to carry meaning is enhanced by someone touching, holding, sitting on or using it. In my current body of work utility is intentionally 'vestigial'. The pieces make reference to traditional vessel forms but their scale confounds easy associations. There are also references to 'streamlined modernism' - setting up a dualism of movement/stasis. The surface treatments and materials used encourage handling, holding and hence a subtle, haptic appreciation of the forms.

The main legacy of my craft roots is my obsession with process and materiality. All of the materials I use - wood, plywood, stainless steel, lycra, cast bronze, glass, etc. - are left in their purest state. Materials are contrasted within a single work to highlight their dualities: transparent/opaque, light/heavy, flexible/stiff, mobile/inert. As a maker I am very aware of the passage of time, as part of the process of creation and in its role in the aging and decay of the finished work. I try to 'write' the passage of time on my work through patinas, mark making, and through the repetitive use of processes and forms."