The ceramic sculptures is inspired by a number of my experiences, firstly, my use of the classical form, of how we are witnessing our ancient monuments eroding away in the atmospheres we are creating in cities and towns across the world. The work is intended to admit and celebrate
the fact that our culture is locked into commodities and they also admit that not even the grand iconoclasm of Marcel Duchamp could deliver
the artist from sharing this fate.The irony is that it is those who were involved with art and its institutions contextualised the readymade in the gallery which brought Duchamp into the pantheon of art and by doing so effectively isolated and neutralised the power of the readymade object.
My sculptures are intended to represent a conscious and sustained effort to operate outside the rarefied and the self referential, without losing cultural values which provide the onlooker with the vital authentic link with the world they inhabit. Art cannot compromise its relationship with society or resort to capriciousness because time is running out. The extent of environmental degradation is an event that is almost unimaginable in its implications and consequences even in an age which regularly engages in apocalyptic forecasting. In other words, however, secluded, remote. Privileged, painstaking, constructed or private existences or environments may be, they cannot withstand the destruction of our eco system. It is therefore physically impossible for the artist to disengage, and, given that we all acknowledge the unique power of art, morally reprehensible to do so.