To my mind the sculpture should sit in the landscape gently. Nature is constant, though ever-changing. Sculpture provides an interesting juxtaposition, allowing the viewer to re-examine the landscape in a new light.
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I’ve never really made a sculpture with a moment of drama like this. Two forms in communication, but not quite touching. I love it and find it magical that drama can exist in something so static.
These positive and negative shapes fascinate me. Here the dialogue is happening on a curved surface. More complex and intriguing.
Along the lines of ‘Lunasa’, but a larger version. This time gently turning facets follow the form around.
This sculpture undulates gently. It stands off the ground on stainless pins. Although large, the skin is thin and the contours of one side are exactly mirrored on the other side. I am delighted to have a sculpture that does not need a base, and can stand alone in the landscape.
The base is buried underground so the sculpture can stand alone in the landscape.
Standing ‘Wild Albert up for the first time was exciting. The end result was beyond my expectations as the multiple facets play with the light in quite a magical way.
This work came from my fascination with a deflated ball. The skin of material that retains the full surface area of the ball and yet is deflated. The integrity of the flow over the surface is genuine. This has a logic and a purity to me.
A sister sculpture to ‘Bess’ (see ‘Freestanding page’). Two sculptures split from two halves of a single block of Portuguese marble. In this sculpture the twisting and wobbling of the forms is even more exaggerated than in its predecessor.
The woven forms explored in a series of wall-hung sculptures are here tried out in full three dimensions. The form weaves in and out without end. This was the theory, but I failed and in several places the weave ends. I celebrate this failure with a dot. Quite fun to find.
This pink Estremoz marble is full of suggestions to me. Animated scuttling genes. The marble has become so light. There is so much air in between the forms and yet the link back to the reclining figures of Henry Moore is obvious.
Very similar to Emerge in intention but with a little more figuration. The extra limb suggest knees; the joining of the two forms are almost mirrored. Again this is light in feel.
Reclining Figure II
This sculpture is a larger version of the ideas first explored in my 100 Day series. Carving on this scale however is very different. Turning the work around is easy when you can pick it up. On this scale it is much harder and yet it is essential to look at the work from all angles whilst making it.