My work is firmly rooted in the Constructivist tradition and consciously uses geometric and architectural forms as its basis. The majority of the works are low relief and relief construction, an important element of which involves the play of light over the surface.

Despite the associations with architectural form all of my work is non-representational, the pieces are intended to stand alone with object quality.

There are three related threads running through the current work.

Circle Works are a series of relief constructions that set out to explore the possibilities of the circle within a deliberately limited format. Each regular sized piece starts with a negative circle relief within a rectangular ground. The variations are composed and assembled from sections of the negative space. The pieces are exclusively white, enabling the element of relief maximum exposure. Most pieces can be hung in 2 or 4 orientations, inviting participation from the viewer. These works have some association with 'System art' but this description cannot strictly apply as there are elements of personal choice involved in seeking an aesthetic conclusion.
 

The second and less formal group of work deals with architectonic form such as the Long Slot pieces. These are mostly low relief's that explore overlapping planes and architectural massing and are informed by elements of Brutalism and Deconstruction.

Thirdly there are reliefs, constructions and paintings that explore the wider aspects of geometry and the relationship of form. Some of these pieces experiment with subtle shifts from the right angle within the composition. As we are preconditioned to view man made structure in a vertical /horizontal relationship, slight deviations can have an unsettling but compelling affect on the viewer.

The current work of architects Daniel Libeskind and Zaha Hadid give a new and similar experience from a buildings perspective. It will be a good day for London if Libeskind's V&A extension is realised.

Titling of the work is usually confined to a description of the geometry and elements involved but sometimes a proper noun is used. This does not infer a pre-determined intention to represent but is an aide memoir arrived at after completion.

My work is intended to hang flat to a wall and is often quiet heavy, sometimes including a Perspex case, so to facilitate this most pieces have a hardwood batten for fixing to the wall and a brass hanging plate fitted verso. Smaller and lighter pieces are fitted with traditional eyes and picture cord/wire within the recessed backboard. There are occasionally some box framed pieces and freestanding 'table pieces' which are indicated on the relevant gallery page entry.

Some of my reliefs and constructions are presented in purpose made Perspex wall cases that not only protect the work but also enhance the visual impact and object quality. Being similar in appearance to the covers seen on architectural models they are the perfect framing solution for this type of work.

The Perspex cases are of the highest quality and are made to order in London by the same workshop that supplies the Tate Gallery.

The importance of conservation framing techniques and materials cannot be overemphasised for works on paper. The ordinary high street fast framing shop will not normally be able to undertake this. On no account should works on paper be dry mounted. Prints and drawings etc. should be mounted onto conservation/museum mount board with acid free paper hinges and prevented from coming into contact with the glass by a window cut over-mount of the same material. To float mount a piece (show the full size of the paper) the over-mount is dispensed with and the work kept away from the glass by spacer fillets within the frame. The best quality frames are made from unfinished hardwood mouldings with fully glued and cross-pinned corner joints. Any finishes are then applied to the completed frame.