Rather than simply viewing a surface, I aim to entice the viewer to step forward and seek out the structure beneath. - an invisible space of weight and volume. My aim, therefore, is to communicate a visual layer of
what lies beneath a surface, as much as the surface its self.

My interest lies in reading shape and form with an appreciation and fascination of all things visual, from the complex structure of a power cable pylon to the simple form of a cup and saucer. I am most interested in
the significance of negative space rather than the positive object.

It is a conscious decision to choose to work with diverse materials such as piano wire, as a means to communicate in a way not normally associated with that material, i.e. to make music.

I also choose to work in monochrome as a means to clarify form and structure. In the same way, I believe
that a black and white photograph captures something more for the viewer than the same picture in colour.
The intentional aim of my work, such as the Sphere and Pinch is to create an illusion of volume, appearing convex when it is, in fact, concave. I achieve this by using a subtle gradation of greys in reverse.

Just like a black and white photograph, I use ‘pixels’ to represent equal elements of a surface. Each are
unified into a composition of greys and distributed in such a way to imitate light and shadow, as one would
in paint or pencil. Similar to cells under a microscope, my work mirrors the small detail of a larger inanimate
object where the genetic structure can over power the overall shape - a surface that aims to define an
order within chaos, through repetition and fluidity of pattern.

By working on a larger scale, I aim to bring the viewer closer ‘into’ the works own space, both positive
and negative. In this way, physical movement is required to fully interact with the piece.

Strong influences on my work include;

• The ‘Guggenheim Museum’ in Bilbao which became the basis of my project Inverted
  Architectural Space
• Shimon Okshteyn who defies two-dimensional images through pencil and charcoal.
• Bridget Riley, - the queen of mark making, with her optical illusion of a third dimension on a
  two-dimensional medium of paint on canvas. A mathematical structure that confuses the eye.
• Anish Kapoor whose work creates a subtle confusion between what is concave and what is convex
  through three-dimensional sculpture.