There is something about trying to write a statement of practice, finished and contained, that feels wrong.

There needs to be space or a doubt where the work finds its own wholeness through transition and internal struggle. This sense of growth is in direct opposition to mechanical design.
Bio Cesares ‘says in the invention of Morel’:

“ When I made this garden, I felt like a magician because the finished work had no connection with the precise movements that produced it “

This seems a fundamental thought in making art, the sleight of hand that tricks the eye and delivers to the heart and mind.

Art making is like tapping into a magnetic seam. Making a battery from energies and substance that is already there, tapping and exposing things or notions around us, which are timeless and often invisible. Sometimes they are contradictory, avoiding the grand or profound. Working like tendrils, that feel and exchange connections. The artist must invent the possibility of such works and encourage them to arrive. Watching for their presence at the side of the glance, not at the dogmatic centre of attention.

Often the instigation or intention becomes obsolete, once the work is in construction. It becomes essential to remove it or let fall free from the evolving image. This is key to my practice. I work with a structured looseness that prefers not to jabber at the work but allowing it to flow, so that I can juggle all its enigmatic and practical parts together. This highly informed dance sets up clashes and fusions that should be in contrast, but are not. Trance, design, intuition, craftsmanship, chance and accident spin together and coalesce in the  studio of the thinker the critic and the fool.

Recent work has followed a line of ideas that grew out of a fascination with the troubled territory up to and since the Enlightenment.
A zone of conflict between the scientific and the mystical ownership of knowledge. A process of making instruments and forms in pursuit of the truth. Tools that discuss the functionality of measuring the universe while confounding the viewer with their mysterious poetics of form. These conjurings point towards a place where another idea or sense of location might arrive.