My work is organised across two bodies of enquiry. Anima reaches back into our oldest human impulses — the need to make things that carry meaning beyond their function. Prehistoric objects, votive figures, animal forms carved thousands of years ago still speak to us.
We have not changed. Everything around us has. When I carve glass, I search for that same charge — the moment a sculpture animates in the viewer's mind. Ongoing series such as my Precious Beasts and Detritus emerge from this search. Glass is essential: it absorbs, reflects, and bends light. Light gives life in ways that stone or bronze never could.Apparatus examines the tools that shape how we see the world — the lens, the screen, the signal — and how those tools have come to shape us in return.
These works are observations, not criticisms. Series including TINATV, Pocket Lens, and Portals use optical glass to make visible the mechanisms we normally look through rather than at.These are not separate practices. They are the same question asked from opposite ends of time
My practice is rooted in making. Craftsmanship — learning, refining, and expanding what the hands can do — forms its foundation. Glass allows me to translate lived experience and universal questions into sculptural form.