"My work is derived from intense study of early civilisations. I am interested in the connection between man and his spiritual world. In our secular society, with an ever-decreasing attention span, I am looking for something deeper and more lasting.
Feelings have been unfashionable both in art and music for many years, and concept and cerebral notions have been at the forefront in art. Society has become divorced from feeling and caring, possibly through daily bombarding by the media. I think people will start to want something which expresses the feelings of love, sadness anger and pain that we have numbed ourselves from.
I carve with my emotion, love and belonging are profound feelings, which are joyous to express. There is a Welsh word "heireith", which as well as belonging means a yearning for your homeland. Mine is Pembrokeshire in West Wales in the British Isles. It is surrounded by wilderness and beautiful beaches, magical hills full of ancient burial site and stone circles.
There is a notion that artists can only work when they are in the mood. I like to work, in whatever state of mind I happen to be in. I feel things profoundly and so how people feel matters very much to me and it is something that I wish to share. I make story pictures in stone which are meant to portray what it felt like to be in that place at that time. A sort of window on the past that tell the onlooker what is happening. I also use metaphors, like music, which is important to me.. The interplay between musician and instrument goes far deeper than the music actually played. The instruments evolve into metaphors themselves.
The Art period that was the most influential for me, was the early part of the twentieth century as I grew up surrounded by Picass's and Matiss's. Gutfreunds and Brancusis stared at me over breakfast, as my stepfather had a large collection of modern art all over the house. Art forms like music and dance, drama and poetry are fundamentally about communicating feeling at different levels and I want my sculpture to do so as well. You don`t choose to be an artist, it chooses you and the obsession grows ever more complex and profound. It drives you to make works which you feel you have to make, even though they are not commercial or at all suitable for the current market. The Art period that was the most influential for me, was the early part of the twentieth century as I grew up surrounded by Picasso's and Matisse's. Gutfreunds and Brancusis stared at me over breakfast, as my stepfather had a large collection of modern art all over the house."