A lot of my work is about honoring or elevating a humble or even banal form or material into a memorable object. I see it as a kind of amplification – I often call it a material ‘soap’ …and like the idea of sculpture as a sort of slow (stationary…?) drama …and its making as a slow audience-less performance. To this end I am continually working on process and systems that have an elegance, economy and an analogue sensibility …I trace this back to my fascination at simple depression era and pre-industrial nz inventiveness and reductionism. I have a strong drive to make beautiful objects. I see the language of objects as immeasurably rich and deep … and sculpture as a tiny subset of the collective of ‘all manufactured objects’ As such it is under huge pressure to ‘perform’ as the quality of manufactured items soars. partly as a response to this I worked at representing ideas …like mass,or flaws and faults, absence, pressure , stress…
