Materials: Iron, steel, Concrete

Materials: steel, steel chain, iron weight, Ostrich egg

This sculpture has developed from looking closely at key stones and the pressures involved with keeping a structure rigid. The (Ostrich) egg has always been praised as an object of strength and great design within the natural world.

The concentration within this sculpture is the eggs qualities, putting this body of fertility through pressures usually present within industrial processes. Look closer at the structure that is being supported by the egg and you realise that on a monocular level as well as in engineering or construction it promotes strength but without the key stone this structure would pathetically collapse upon itself.

Materials: bell jar, ostrich feather, mild steel armature, reinforced piping, vacuum pump.

This is a physical presentation of a phenomenon. The feather within the bell jar which has a fan rotating at 4000 rpm underneath does not move the feather, this is because both objects are in a vacuum and so the process of particle intervention is avoided. This piece of sculpture is an important development towards the piece 'The Integrity of Fertility'. This is because the ideas of making something happen but avoid it acutely happening is a main focal point within this sculpture (there is so much happening in theory but so little happening physically).

Materials: steel frame and support, glass tank, mirror bottom and mirror plinth, 230 volt fan motor, magnets x2, lighting spinning top.

I have made an enclosure for a spinning top and customised the top with a small magnet on its tip, the motor that sits above the spinning top also has a magnet attached to it, making the top spin forever relentlessly. This reminded me of a star taken for granted like our sun, the top also lights up but this light will die one day and become dark but its mass will stay the same, like a stars mass stays the same once it becomes a black hole.

A dying red giant is a star that has almost come to the end of its life.

Materials: mild steel, French oak, halogen lamp.

This pieces form is taken partly from the mid section of the Cross of Lorraine. This sculpture is the first of the burning series - the action is on a timer, the timer switches on and off a halogen light at 10 minute intervals. When the halogen is on the wood at the top in direct contact with the light starts to burn and the piece will change, fall, collapse - this shows the forever pending failure of the human race though symbolism and the changing of state.

This sculpture has a rather elaborate RSJ and is the integral part of the structure keeping it up. When the epicentre of the burn completes its action the structure around it will fall leaving an up-right changed relic of what it was before.

Materials: rare earth magnet x2, Maranti (hard wood) x2 lengths, concrete base combined with Maranti.

This piece changes with time and echoes a type of live art I am very interested in - (another example of this live art is a piece I am yet to fulfil, where two fry (baby) goldfish (coy carp) will have different size aquariums to live in. One aquarium will be 30cm x 30cm and the other 300cm x 300cm, although the two fish will have started their lives at the same time because fish grow to their environment one will grow dramatically larger than the other showing the affects of space and time physically within sculpture).

The sculpture 'Shift' is changing its material through elusive forces, this particular force being magnetic de-attraction. Over the course of the year since making the piece the magnets which are fix to the top of Maranti's lengths have bowed and pushed apart the wood, which is set in concrete, at a rate of a couple of mm's a month. They started at about 2mm apart and subsequently separating to a gap of about 8cm.

Materials: copper plate, copper piping, wood (pine), amp, speaker x2.

When a person walks on to the copper surface and touches the copper arch a monotone sound is projected back at the subject, the sound is the energy of the person translated into sound. This piece is the breaking down of barriers between religion, race, creed, culture and the land between.

Materials: steel, bright steel, wind sock, 35 - 85 rpm motor.

This sculpture deals with the unconventional use of invention. The action of the sculpture shows a visual display for the phenomena virtual wind, centrifugal and central potential forces.

(The wind sock travels around in a circular motion of a 35 - 85 rpm motor).

Materials: oak frame, solar panel, 12 volt motor, oak tree, plastic pot.

Over a summer holiday I observed farmers grooming and maintaining their land, I found this brilliant to watch but the care had a sinister nature to it because the living crop that the farmers grow becomes food for the masses.

This made me think how I could show this nature/nurture in a sculpture and I came up with this piece.

The frame of the piece is made from oak as well as the blade that sits over the potted plant which is an oak sapling, both the sculpture and oak sapling lay dormant in winter because of the lack of sun light (the sculpture runs on solar energy).

When the summer comes round the blade starts to spin and the tree starts to grow, eventually the tree will get too tall and the blade will cut the sapling back down.

Materials: wooden ladder, brass bracket, copper piping, 5 kg weight.

This work is a visual metaphor for balance.

I can not stress enough that this work is completely balancing itself, the proportion of the copper piping and the placement of the weight keep the ladder up right.

Materials: wooden frame, kite, industrial fan x 2

This piece of work is a prototype.

The industrial energy that makes the wind via the fans flies the kite. I was looking at other ways that you could create the same effect for an invention that already exists, using its function (the kite) by unconventional means.

Materials: rare earth magnets (super magnets) x2, steel plate x2, steel wire, clamps x10, cable tensioner.

This piece has 2 high powered magnets that are attracting and polarising each other. This enables the wire to tension because of the magnetic force and so the gap that the magnets have between them is bridged by force alone. In this work I felt that the art is the gap, but without the magnets the gap is lost within an area.

Pillar of Potential moquette

Materials: steel, steel wire, rare earth magnets.

Materials: vacuum cleaners x 2, gym ball, wooden brackets.

This piece is looking at something I am very interested in, the idea is ‘absolute minimalism’ (I also had this idea in my head when creating the piece ‘Pillar of Potential’). The part of the work that I find most interesting is the area where there are invisible forces at work, without these forces the piece would not be able to sustain itself and collapse.

Materials: tread mill, tractor wheel, rim/axel, tri-frames.

The worlds surface is a running ground so putting a wheel on a tread mill is no more ludicrous than a human running upon one.

In this piece I was looking at how more dynamic a wheel is than a human being, it is as if the tread mill has been created for a wheel rather than for people. After the humour of the piece wore off I realised that the wheel seemed depressed being stuck in this continues cycle, its almost like a wheel hell, its last days should not be spent as a kinetic sculpture but should be spent ploughing fields and being constructive for the human economy.

Installation

Materials: wax, wooden frame, fishing wire, 230 volt motor, strobe light.