I am fascinated with how the body apprehends and interprets the world.  My work has been trying to come to terms with this ontological predicament  for some time and sculptural activity has been my mode of analysis and  means of exploration. A significant aspect of my practice has been an  interest in responding to particular historical and cultural locations. In  site-specific installations, material  processes and craft skills are selectively  chosen to provoke or complement  prevailing aesthetic or ideological values.  Alongside these concerns, formal  preoccupations with surface, light and  reflection generate phenomena that  encourage the audience to focus on  our haptic, experiential and temporal  encounters with things.

What interests me about working with  Nymans is the opportunity to make  something that references aspects of  the inside and outside of the site.  I feel there is a strange, dark, hermetic  atmosphere in the house that is in  contrast to the open and expansive feel  of the topography in the landscape.  These intense spaces full of charm  and privilege feel divorced from the  real world. The theatrical manor house  provides fuel for the fermenting of ideas,  releasing fragile, fantastical bubbles that  are burst by the fateful fire in 1947. The  work in situ, There is a gardener that  works night and day in the garden, his  name is Death, is my response to this  extraordinary place and the loss of the  unique archive of botanical illustrations.