A large part of my work continues to be portrait sculpture and I strive to create pieces that capture a sure likeness and have the merit to stand as works of art in their own right.
Within the traditional discipline of studying human form, the art of portraiture is as relevant as it ever has been . Its distinctive set of challenges continues to fire me: to capture a particular demeanour or bearing of an individual and animate key qualities in their character, hopefully resulting in a piece alive with its own inherent energy. A sculptor who has greatly influenced me in both his work and thought is Jacob Epstein and he spoke of sculpture not being rigid but having to "quiver with life ".
Monumental public sculpture, memorials to those such as Darwin, Elgar and Gladstone have to start from a well informed viewpoint and the choice of exactly how someone is to be portrayed and remembered, down to the very smallest details, can only be made after much detailed research . Inevitably the end process involves a team of people from different disciplines working together, (architects, engineers, site managers and ground staff, transport, installation experts - and occasionally archaeologists!), which becomes an exciting dovetailing exercise and a great foil to the lengthy period working alone in the studio . Relating the statue to its intended site is key to the initial design and inevitably throughout the growth of these projects continuous consultation is made with the commissioning body.