On returning to visit my sculptures on the 20th February 2008 I was initially relieved to find both 'Pin-hole' and 'Invertebrate Vertebrae' completely intact as I had left them weeks earlier. On arriving at the site of 'Sea horse' however my heart sank a little. The main "body" part that ran along the back of the piece had been removed by somebody. Obviously, being on a stretch of public beach this one was going to be particularly vulnerable to vandalism at human or elemental hands, but I am bewildered somewhat as to why anyone would go to the effort of removing the single-most cumbersome piece of wood used. It would have been interesting to see how long the piece could remain erect as the materials and structure gave it quite a firm and sturdy stance. I think it would be worthwhile to create a similarly engineered sculpture in a more remote area, watch this space!

As for the location of 'Sea horse' due to the abundance of materials in that locale I am sure to be building there again, I shall just have to accept the inevitability of its demise.

Notes on 'Waterwheel'

An alternative way of approaching sculpture in the landscape and my first kinetic piece. Instead of constructing a monument, part of a solid landscape, the 'wheel' interacts with a changing aspect within the landscape.

Water erodes, grinds, pushes, drags and washes with singular intent; to arrive at the ocean.

The waterwheel logs/ catalogues the passing water molecules as they tumble past, keeping tally of travellers on their journey- a census- a turnstile on the underground.

RAIN-----RIVER-----SEA BIRTH-----LIFE-----DEATH.

SCULPTURE AS PHALLUS JANUARY 2009

This commonly held belief about male sculpture does not really apply to my work. Although forms often rise up from the landscape, this is usually dictated by the raw materials and the environment ( my ingredients ) presented to me.Each piece derives its form from these aspects, I merely arrange and re-structure componants to either compliment or contrast with their environment.
'Reforest' is doubtless phallic in shape however the vertical is necessary amongst the trees especially as the subtle desire to comment on the removal of trees is appropriate. The form works in this case to fit in with the landscape while the irregular structure/ segmented componants and missmatched colours and tones helps to separate and highlight the sculpture amongst similar vertical objects.
'Cold Contrast' however is situated in an open field surrounded by more gentle sloping fields and the form mirrors this sympathetically by being more prone with the colours and contrasting materials forming horizontal bands.
SKY
HILLS
ICE
WOOD
EARTH