After 30 years in business, I decided to make a complete change of direction, rekindling my interest in art which had been dormant since school days. 

I started with evening classes at a local school, first in painting and then in sculpture.  It was sculpture that really got me fired up, and I was keen to learn about stone carving.

I attended sculpture classes at the Art Academy in London during 2003 and 2004, mainly working with clay and life models.  While I was there I was also introduced to stone carving.  I attended a number of other stone carving classes, which included working in the Tout quarry on Portland Island and working with Zimbabwean sculptors.

In 2004 I was fortunate to work part time for Emily Young, one of the leading stone carvers, preparing pieces for her St Pancras Crypt exhibition.

I have completed a number of commissions for private collections and my first public commission for St Peter’s Hospital near Chertsey – the picture shows me carving this piece in 2010.


My early work was mainly figurative.  These stone carvings were heavily influenced by the work of Emily Young and the way in which she uses the properties of the stone to advantage.  

A stone carving course in 2003 on Portland Island, at the heart of the Jurassic Coast in Dorset, led to my fascination in the deep time history of our planet and in the evolution of life.  From there I started to explore abstract shapes that are influenced by the wide ranging patterns of nature.  This included the work of Alan Turing in 1952 on morphogenesis and the patterns generated by reaction-diffusion systems.  My sculpture continues to develop with these interests.

I usually select and procure the stone directly from a number of quarries, my favourite being the St Aldhelm quarry in Dorset, not far from the beginning of the Jurassic Coast.  This is where I get the stone that I have used most - Purbeck 'marble' (see note below).  A lot of my work is carved from offcuts, making use of stone that would otherwise be scrapped.

The stone that I start with gives me the boundaries, or constraints, that can fuel the creative process, particularly if it is not a uniform block of stone.   My most satisfying work comes when the ideas and direction gradually take shape as I work, responding to the properties of the stone.

I have recently started working with recycled building materials and found objects, which can be seen on the page titled 'Abstract Nature 2D'.  The Indian Limestone pieces are actually surplus paving stones.

One advantage of working with stone is that you are able to go back to previous work and change it, ranging from small modifications to completely redesigning a piece.



Purbeck ‘marble’ - When the Romans discovered this stone in Dorset (c. AD 200), they called it 'marble' because of the high level of shine when polished. It was used for the decoration of cathedrals and the like for many years, but is now in short supply.  It is a limestone full of shells, formed in a warm fresh water lagoon some 135 million years ago (the Cretaceous Period), mainly from millions of fresh water snails (oviparous shells) - hence the wonderful colours