This body of work, addresses a broad confluence of techniques. The inspiration behind these works merges my interests in minimalist modern architecture, whilst juxtaposing this with a fascination for the (at times microscopic) architecture of growth in plants. With this work I am very interested in achieving a hybrid blown and cast feel to these glass forms. 

I have been developing various mould techniques in order to blow these individual components. I am by and large melting colours in my pot furnace in order to achieve tints of transparent colour. The components are blown into a series of steel moulds and have a trapped pocket or envelope of air within. When assembled the regularity and/ irregularity of these components create an internal structure within the larger form. The forms are assembled with multiple components, the pieces are then carved and lathe worked as a whole. 

The finish of the sculptures captures a veiled aesthetic, where the transparencies of the colours fade and gather intensity depending on the thickness of the glass. 

This series is a smaller scale (approximately 43 cm high each) - my intention is to continue working with the idea of cellular growth in plant forms. ​The pieces are worked hot with 'submerso' like gathers of glass.

I melt coloured glass in my pot furnace, using a variety of oxides in order to achieve various tints of transparent colours. The components are blown into a series of steel moulds and have a trapped pocket or envelope of air within. When assembled the regularity and/ irregularity of these components create an internal structure within the larger form. This forms is assembled with 30 components, the piece is then carved and lathe worked as a whole. 

The finish of the sculptures captures a veiled aesthetic, where the transparencies of the colours fade and gather intensity depending on the thickness of the glass. So too, the envelope of air effects our experience of the coloured glass, creating a diaphanous structure within. 

In consideration of the material, the intention is to experience the subtle play of light through the various depths and angles of the transparent coloured glass. By using glass components to create these large sculptures a certain dynamic tension becomes evident, this material which is perceived as fragile is juxtaposed with the constructed scale. 

The forms I am working with are loosely reminiscent of enlarged organic structures whilst also influenced by minimalist architecture. On one hand derivative of the carapace or thorax of a beetle, or of the microscopic structures of diatoms, on the other, an exploration of architectural spaces and forms. With some of the works my intention is that these structures invite the viewer to contemplate distant experiences of discovery, such as a childhood experience, a moment of wonder at the complexity of the natural world. In other works, it is the interplay with forms and the dynamic interrelationships of intersecting planes that informs the design and assemblage of these large glass structures. 

My intention is to produce glass structures that invite the viewer to contemplate an illusory experience of discovery. I pursue an interpreted moment of wonder, reflecting upon the complexity of the natural world. A window, through which to peer and explore an expanding experience of space and form.

​Throughout my practice consistent themes and forms emerge; I am repeatedly drawn to the complexity and beauty of the microscopic architecture of living organisms. Where the interpretation of a thorax of a beetle, or of the microscopic structures of diatom, become the foundation for my work. In constructing the components, the interplay and dynamic interrelationships of intersecting planes and sympathetic structures inform the design and assemblage. The pieces are then carved and finished to accentuate the structure and edge of the material.

The finish of the sculptures captures a veiled aesthetic, where the transparencies of the colours fade and gather intensity depending on the thickness of the glass. So too, the envelope of air effects our experience of the coloured glass, creating a diaphanous structure within.

This piece continues a material dialogue between surfaces, form and colour, whilst intangibly exploring the ephemeral nature of human expression and experience. The opaque skin of the glass object is perforated in a reductive and controlled grid. These intersecting lines are expressed repetitively by a point, a fundamental mark, expressed with meditative precision. This device opens the vessel to allow the transparent interior to be experienced through shifting light, at times quiet and still, in other moments bursting with vibrancy and energy.

In these pieces, I have focused on the refinement of a particular vessel form. Replicating this form provides a structure through which I can refine and explore the elegance of line and proportion. These transparent vessels are inlaid with fine silver windows, inviting the viewer into the internal space, proving an intimate experience. The architectural reference through the juxtaposition of material and surfaces allows for personal and imaginative interpretations of these objects.
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This series was produced between 2003 to 2009.

The bowls consist of green plate glass sections bonded around a blown vessel. The result is a heavy bowl which captures and reflects light sources in a playful way. Coloured inserts further enhance this effect and the light behaves differently with different shaped bowls. A completed bowl is the result of a methodical process where each section is individually placed, fitted, and bonded, with the finished work capped by a brushed steel rim. The effect is contemporary and the hard finish draws the eye into the depth of the vessel as it concentrates and refracts captured light.